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WHE UHLE POTTERY COLLECTIONS 
FROM ANCON 


BY 


WILLIAM DUNCAN STRONG 









UNIVERSITY OF CALIFORNIA PUBLICATIONS IN AMERICAN 
AND EvHnoLocy ae 

Vol. 21, No. 4, pp. 135-190, plates 41-49, 11 figur 
Issued September 18, 1925 


THe UNIVERSITY OF CALIFORNIA PRESS _ 
BERKELEY, CALIFORNIA 





ee 
) 


Tue CaMBRice UNiversiry Press 
Lonpon, ENGLAND 


THE UHLE POTTERY COLLECTIONS 
FROM ANCON 


BY 


WILLIAM DUNCAN STRONG 


CONTENTS 

PAGE 

Jirer(Hie SHG UEVEIAN OMA, aoa taste Betcot Bt ereGe MEBs eet iM ed Ui SIERO) ne Ap ORE ee ee ee ee 136 
iassiinewtion OL POLICE Dyn PeriO GSia.csciescc.cteerek tes da cueeseclecsuusod sac seaaaseesasbesheles 139 
Bait CRAIC OLS Lapeer iate Sat retest trin COE nh ene Me Me sh Re Scale Pye 139 
JLSDHNE: ATO AE eas uae Rae nes Sr eA ee ee ease ine etc ch te a) eri ie AN dy Se ne ora or a 144 
ENT GRA Tt COTE eligi mete rtest ioe eta eatin ome MeL a Re Ca ye 145 
IVER Cle wAT COne arn ert rere ete Aaa eee RMN dist le leo al i Pua RoE WA 148 
raid iy AY aoa pa’ oe Se ey meet Ruane MCN yu eer Nae re ane RR 152 

SAD MWY BEET GA ygSS ah een ie MR eT DR og Ae MR A Us SUM Red Ae ae ae ee 157 
BranisiucalsureacimentiOlbhe: Catars swan d tease es eae ls rstutnedue ysis ramoeausiics 159 
Agreement of pottery types with sites and depths... ccccccceeecesceeceseeeseveeseseees 166 
Association of types of pottery and positions of graVeS...........ccccccceeseseseeeeeeeseeeee 168 
Hxenvationsmade bi WU nleiat ANG s...cecen tres eect ci aide ee ain oe 173 
SEL) J. conecne dao aera cae ane FEE Mel Bae RE LCDI OFS ls Be RP A IBY rR EO 173 
SUEY soe d ape eS SE SSP Ne ca Oy OI ref i A Ne ae ee oem ie 
PSS RSs Che Se ea AT TD cel wt iP he a a ae 174 
SU cm Or mmeee Cnn RG hot etreye tae mia ch er wmode ns ew COR a eee, wb acmerrt Gy toatl mene 174 
SST CL Re mene eae Onn pc bicantis naib des COE te Rha DARN cider neha Cou Sex Be le 176 
NICD e mn ren GAD ate ees eins, eumelanin 177 
(SAEs TIM Toe gE Ea 9 EN aI oe ee oie RUS tae NRCan LS Ga namin 178 
SSVUNE. EE 20. eh cos, cn AI Wega Oe aa ais Paine VR Mae te REE aE ls oa yl nn PN ep Se 179 
ASI me aimee tery ese A sce A ei cep nc eR We Ng Sen aR Se alas a 181 

RE ON CLUS LOM rere er i eer a ke ee a eh a a ee a eas 8dr ot) a ee ee 183 
Appendix. Classification of the ceramics illustrated by Reiss and Stiibel.......... 187 
Grave provenience and specimen numbers of vessels shown in plates.................. 190 


PLATES 
Following page 190 


41. Map: the Shellmounds of Ancon. Scale 1:1000 

42. Late Ancon II pottery 

43. Late Ancon II and Late Ancon I pottery 

44. Middle Ancon II pottery 

45. Middle Ancon II pottery 

46. Middle Ancon I pottery 

47. Middle Ancon I pottery 

48. Early Ancon pottery and artifacts 

49. Late Ancon II, Middle Ancon II, and Middle Ancon I figurines 


136 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


FIGURES IN TEXT 


PAGE 
1. Figurine, transitional in type between Middle Ancon II and Late 
Anon NLD 35 rm ee Ln te ee 142 
2. Cat and monster design from Middle Ancon I vessel...........c.ccccesccccseeseeeeeeeeeeees 151 
3. Bird and monster design from Middle Ancon I vessel.............cccccccccceseeceeeseesees 151 
4. Monster design from Middle Ancon I vessel............ccccccccccsessessseseseseeveneveveceecenens 151 
5. Figurine head, body, and two spindle whorls from Early Ancon period...... 153 
6. Incised designs from Middle Ancon I vessels..............cccccsssscceseserseeeeseescseseessseess 155 
7. Incised designs from Early Ancon potsherds..............ccccsccseccecossscesessececcesesceesseves 156 
8. Diagram of excavations at Site T, showing Late Ancon II graves above, 
and Middle Ancon II graves below. (After Uhle.)...........0ccccccceseceneeee 168 


9. Diagrams of two Middle Ancon II graves M4 and T4. (After Uhle.)........ 169 
10. Diagrams of the Middle Ancon IT graves M1, M7, and M14. (After Uhle.) 178 
11. Diagrams of six Middle Ancon I graves, P15, 17, 18, 19, 21, and12. (After 

Uhlee): ca.scctisst eects ace a7: ced np aeczen ett oe coe eee 180 


INTRODUCTION 


The valley of Ancon has long been one of the points on which 
South American archaeologists have focused their interest. In this 
locality there still remains a great deal of material for careful archae- 
ological research ; and besides, the considerable body of records about 
Ancon actually in existence still needs interpretation. The magnificent 
work of Reiss and Stiibel! is unique as a pictorial representation of 
the material culture of the region. Foremost in interpretation is 
Dr. Max Uhle, who in 1904, under the auspices of Mrs. Phoebe A. 
Hearst, worked for four months at the site. He published a condensed 
account of his excavations and discoveries, giving his general theories 
as to the sequence of cultures and mode of life of the people. But in 
so brief a paper he was better able to outline conclusions than to 
present in full the premises on which they were based. In accordance 
with the policy laid down in a previous paper,’ it has seemed desirable 
to offer the Uhle Ancon data in a more complete form, working, as in 
the previous investigations of the Chincha and Ica collections, from a 
purely objective basis, and interpreting the results independently in 
order to verify or correct the work of the excavator himself. In most 
essentials it was found that the two interpretations agree, although an 


1W. Reiss and A. Stiibel, The Necropolis of Ancon, 3 vols., Berlin, 1880-87. 

2 Max Uhle, Die Muschelhiigel von Ancon, Peru, Intern, Cong. of Americanists, 
xvi (London, 1912), 22-45, 1913. 

8A. L. Kroeber and William Duncan Strong, The Uhle Collections from 
Chincha, present series, XxI, 1-94, 1924. 


1925] Strong: The Uhle Pottery Collections from Ancon 137 


intensive study of the material and data on hand has led the writer 
to differ in a few cases from the views expressed by Dr. Uhle. Further 
work at Ancon should, however, cast light on these problems. 

The Ancon collection now in the University of California Museum 
of Anthropology consists of 809 pieces in all, 264 of which are pots 
completely preserved or significant collections of sherds taken from 
one site. Since it is usually from pottery that a satisfactory relative 
chronology can be established, this paper proposes to deal solely with 
that part of the collection, leaving the remaining material until a 
later day. As to the method employed, it is the same as that used in 
the interpretation of the Chincha and Ica‘ collections. In the case 
of all the pieces considered, the exact grave provenience is given in 
Dr. Uhle’s original notes now in the possession of the University, and 
in each case grave lots have been held intact. The grouping has been 
purely typological and based on careful consideration of all dis- 
tinguishable characteristies—technique, shape, color, design, and 
combinations of any or all of these factors. 

For the statistical treatment of these classificatory data I am 
greatly indebted to Professor Raymond Franzen of the Department 
of Psychology, and to Miss Florence Boyle of the Department of 
Edueation at the University of California. 

Only after the completion of the typological erouping was the 
interpretative element of depth and layer of deposit allowed to enter 
into consideration. And yet the two methods of grouping were found 
to accord in a way far too striking to be accidental. There appears 
to be at Ancon a type of stratification somewhat similar to that dis- 
covered by Dr. Uhle at Pachacamac,® and while there is no case of 
actual superimposition of all period types within the Necropolis there 
seems to be a rather clear example of agreement between uniform 
pottery types and different layers of deposit. Probably a careful 
analysis of potsherds in graves and heaps of débris would show that 
such stratification actually exists on the site, but the nature of the 
work in which Dr. Uhle was engaged made the recovery of complete 
pots and exhibition pieces an essential part of his task. Be that as it 
may, later intensive stratigraphic work should yield more detailed 
evidence to fill in the gaps of his framework of culture sequences, 
which I feel certain is correct as regards the main development and 
succession of cultural types. 


4A. L. Kroeber and William Duncan Strong, The Uhle Pottery Collections 
from Ica, present series, XXI, 95-133, 1924. 


5 Max Uhle, Pachacamae (Univ. of Pennsylvania, 1903), pp. 19-21. 


138 University of California Publications in Am. Arch. and Ethn.  [Vol. 21 


As to the locality, nature, and history of Ancon and its immediate 
environs, the reader is referred to the work of Reiss and Stiibel, men- 
tioned above, and that of Uhle. The present paper is limited to a 
study of the pottery actually on hand and the facts to be derived 
from its nature and provenience. 


SITES, GRAVES, AND SPECIMEN NUMBERS 





Catalogue Periods represented 
Sites. Numbers. by pottery. Grave provenience. 
A. 5544-5592 Late Ancon II Graves 1-4 
B 5593-5600 Late Ancon I Graves 1-4 
C 6265-6279 Late Ancon II Graves 1-2 
Ds 6341-6359 Early Ancon 
E 5792-5801 Late Ancon II Graves 1-3 
5847-5858 
H. 5809-5833 Late Ancon II Grave 2 
5838-5842 
M. 5601-5645 Middle Ancon IT Graves 3, 4, 14, 15, 102 
5843-5845 
5859-5862 Middle Ancon I Graves 7, 12, 103 
5873 
12, 5907-6264 Late Ancon IT Grave 101 
6280-6288 Late Ancon I Grave 1 
6296-6324 Middle Ancon IT Graves 2, 3 
6335 Middle Ancon I Graves 5, 6, 7, 8, 10, 12, 18, 14, 
6360 15,17, 18), 19,320; 021s 2425. 
26, 28. 
Abe 5646-5791 Late Ancon II Graves 2, 4, 9, 12, 16 
5834-5837 Middle Ancon II Graves 1, 3, 5, 677,210; ess 
5876-5886 14, 15, 101. 
6325-6330 





6289 


1925] Strong: The Uhle Pottery Collections from Ancon 139 


CLASSIFICATION OF POTTERY BY PERIODS 


Viewed en masse the pottery of Ancon from all periods is not very 
striking. It is a simple ware, rather barren in decoration and not 
particularly pleasing as to shape. This combination of factors tends 
to make the segregation of types difficult. When the ware is studied 
more in detail, pronounced differences do appear, and the uniformity 
of the grave lots becomes more striking and their grouping easier. 
There is little of the great variety of color displayed by such early 
types as the Proto-Nazca in the south, and little of the excellence of 
drawing and modeling of Proto-Chimu in the north. Unlike the 
collections from the Chincha and Jea valleys, there is no typical Inca 
ware in the University collection from Ancon. There are some faint 
approaches to the Inca type (A4-5588, E2-5799) but these are not 
strikingly suggestive. Dr. Uhle mentions finding some Inea graves at 
site Y in the Necropolis,® but this material is not listed in his earlier 
notes. The plates of Reiss and Stiibel (pl. 93, figs. 2, 3, pl. 96, figs. 5, 
11, pl. 97, fig. 9), however, show many pure and local Inca types, so 
that it is certain the Inca influence reached the valley in some force. 
From the lack of historic accounts, it would seem that, at the time of 
the Spanish conquests, Ancon had already been abandoned.‘ 


LATE ANCON II 


Since the true Inca type of pottery is lacking in the Ancon collec- 
tion under consideration, I have called the latest style there found 
Late Ancon II, in accordance with the local designations used in the 
previous description of the Uhle Chincha and Iea collections. Dr. 
Uhle calls this the ‘‘Chaneay’’ or ‘‘black and white’’ ware, and it is 
well known both from Ancon and the neighboring valley of Chaneay. 
This late ware persisted a long time at Ancon, as proved by the deep 
deposits in which it is characteristic. So many vessels of this variety 
are shown in the plates of Reiss and Stiibel® that it has not seemed 
necessary to illustrate more than the most typical forms in the present 
paper. The fact that such a large proportion of Late Ancon II ware 


6 Uhle, Intern. Cong. of Americanists, xvi (1912), p. 39, 1913. 
7 Reiss and Stiibel, The Necropolis of Ancon, I, p. ‘‘f.’’ 
8 See Appendix, p. 187. 


140 University of California Publications in Am. Arch. and Ethn.  [Vol. 21 


was obtained in their undiscriminating excavation shows rather 
foreibly how characteristic the type is in the higher graves of the 
Necropolis, and how widespread the cemeteries of this culture were. 

The statistics on the representation of Late Ancon II ware in the 
University Museum at the present time bring out the following facts. 
Some 72 per cent of the ware is one and two color, about equally 
divided between the two. Vessels with a white slip, or ground-color, 
make up 49 per cent of the total, a proportion only approximated by 
its immediate predecessor, Late Ancon I, where 44 per cent of the 
pottery has a white shp. The two preceding styles are strikingly 
lacking in this regard, Middle Ancon II having only 6 per cent, and 
Middle Ancon I only 2.5 per cent of white slip. White ware with a 
black design makes up 30 per cent of the entire representation in 
Late Ancon II: an enormous increase over any of the other periods. 
It should be noted that the white is not a polished clear color, with a 
tinge of yellow or ivory such as the Proto-Nazeca in the south shows, 
but is a chalky or gray-buff shade. This point is brought out in Reiss 
and Stiibel’s® colored plates. A comparison of these with original 
vessels of this type in the University Museum seems to indicate that 
the grayness is slightly overemphasized in the lithographing, but 
serves admirably to bring out the contrast between the two shades of 
white. Unslipped pottery is rare, and only a small percentage of three- 
color ware is present. An example of the three-color ware is shown in 
a brown vessel with black band and white spots (pl. 42 a), but vessels 
of this type are not common. Not more than three colors are used on 
any vessel of this type in the University collection. Of the polished 
black ‘‘buechero’’ ware, 7 per cent is found. These vessels are 
undecorated by relief or incised work, and the fact that the percentage 
is higher in this than any other period, is probably in line with the 
relatively greater abundance of the buechero ware in late periods all 
along the coast. An example of this type is shown in plate 42 m, and 
the typical shape and handle arrangement of the period are also well 
characterized by the piece. 

The most characteristic designs are black lines on a white slip. 
These designs are usually geometric, there being little attempt at 
realistic delineation, although in a few cases conventionalized fish and 
birds are used in a way very similar to that of later periods in the 
south. More commonly the design consists of variously proportioned 
diamonds or rectangles formed by thin black lines. Sometimes rather 


911, pl. 94, figs. 2 and 7. 


1925] Strong: The Uhle Pottery Collections from Ancon 141 


thick black bands around the equator of the vessel mark it into definite 
design areas which may be filled by thin wavy black lines, or heavier 
bands connect the broad line around the neck and that around the 
great-circumference or equator of the vessel (pl. 42 b, n). Heavy 
black and white stripes arranged in vertical rows sometimes cover the 
body of the vessel. Triangles and angles of single or double lines, | 
usually black, often mark off the neck or mouth into segments. This 
great use of lines, black on white, as opposed to color masses or 
realistic figures, is very characteristic as a mode of decoration (pl. 42 
9, l, pl. 43 b, ad). 

Modeling is rather infrequent and of a poor quality. Four animal 
forms of rather crude make are represented. Three of these are 
evidently llamas, the best of which is shown in plate 48 g. One is a 
bird figure, hollow with a round hole in the dorsal surface (pl. 48 f), 
and striped with four colors—red, pink, yellow, and white pigment 
placed in horizontal incisions. The ware is an unpolished black. 

Three human figurines clearly indicate the type for the period. 
They vary considerably in size, but are all of the same white color 
with black line patterns. The headdress is large and square, with a 
pattern of geometric black lines across the front. The arms are 
spread, palm outward in each case, and in the two larger figures (pl. 
49 a, b) the top of the head is perforated by three holes. In the 
smallest, only two holes are visible. The genitals are not emphasized 
in this type, nor are ear plugs definitely shown although they are 
suggested. The largest figurine is not recorded as from any grave, but 
is from site T. It is shown here not only on account of its stylistic 
affinity to the period, but also because it was definitely in the kitchen 
midden strata. Of it Dr. Uhle says: ‘6327. Figure of clay~.... 
bedded horizontally under strata of the Chaneay period at T.’’ Under 
““Toys,’’ Reiss and Stiibel'® show in figures 1, 3, 4, 7, 10, and 14, the 
same type of figurine. From the outspread hands, figure 3, also, would 
seem to be of this type, but the rounded headdress and the impression 
of the hands on the breast clearly show the influence of the earlier 
Middle Ancon II style. The transitional nature of this piece is so 
remarkable that I have reproduced a sketch of it (fig. 1). Figures 4 
and 7 are crude, but appear to affiliate with the Late Ancon II style, 
the former from the position of the arms and perforated headdress, the 
latter from the general configuration of the body as well as the square 
headdress. The position of the arms in figure 7, however, although 


1011, pl. 91. 


142 University of California Publications in Am. Arch. and Ethn.  [Vol. 21 


perhaps due to the pack, strongly suggests the influence of the preced- 
ing period. Figure 10 is of the dull black ware mentioned above in 
regard to the bird figures (pl 43 f). The outspread arms and incised 
line around the waist are usual in this type, but the peaked ‘‘dunce- 
cap’’ is unique. Considered as a group, these figurines are very similar 
in their essentials, and when compared to those from other periods are 
an important aid in classification. 





Fig. 1. Figurine, transitional in type between Middle Ancon II and Late 
Ancon II. From Reiss and Stiibel, The Necropolis of Ancon, ul, pl. 91, fig. 3. 


The shapes assumed by the Late Ancon II ware are not highly 
variable ; like the color and design, they run very much to uniformity. 
Double handles are commonly used, and as a rule are placed high on 
the body or neck of the vessel. Handles with the plane of their open- 
ing vertical to the plane of the vessel’s mouth are twice as numerous 
as those with handles, the openings of which are planed horizontally 
(pl. 42 a, b, c, h, 7, 7). The broad or ‘‘ribbon’’ handle is much more 
frequent in this than in earlier periods, a trait common to most of the 
later periods on the coast and to the style of the Incas as well. These 
general characteristics are shown by plates 42 and 43, but the last 


1925] Strong: The Uhle Pottery Collections from Ancon 143 


characteristic is difficult to observe because only the edges of the 
handles are visible in the photographs. 

Large jugs with constricted necks and short, bulging or ‘‘swollen”’ 
mouths are frequent in this period. The fact is significant that, of all 
the vessels in the four periods, 19 per cent of Late Ancon II, and 
19 per cent of Late Ancon I, but only 4.3 per cent of both Middle 
Anecon periods, are vessels of this style. The color is usually white, 
and the design composed of black lines. <A similar condition prevails 
in regard to jugs with high flaring spouts and round or oval bodies 
(pl. 42 a, b, c, 7). These compose 14 per cent of Late Ancon II ware, 
19 per cent of Late Ancon I ware, and only 7 per cent of all the vessels 
from both Middle Ancon periods. These facts not only show the 
prevalence of these two types in the two latest periods, but also 
demonstrate rather forcibly the connection between Late Ancon II 
and its forerunner, Late Ancon I. The handles on the last type of 
vessel described are usually double, vertical, flat, and placed high up 
on each side between the body and the neck. Somewhat similar types 
of vessels are characteristic of the Late Chincha I style, of that valley 
to the south.” 

Open bowls with a definite base or rim on the bottom are most 
typical of the Late Ancon period (pl. 43 e, h). They are usually 
conical, and are white, with heavy black angular or circular patterns 
of an isolated character. While this type is most characteristic in 
form, it is slightly less frequent than the common round-bottomed 
bowl (pl. 48 a, d). Vessels shaped like a European tumbler, or flower 
pot, are quite common, the typical form for this period being much 
wider at the mouth than the base, with straight slanting sides (pl. 
42k). A unique exception to this type is shown by the specimen 
shaped somewhat like a very large egg cup, with a small definite base 
and a half-oval, wide-mouthed body (pl. 42 e). An exact analogue 
to this vessel is provided by Reiss and Stiibel, m1, plate 93, figure 7. 
The ware is the typical Late Ancon II gray-white in both cases. 

A suggestion of the modeled ‘‘melon jug’’ characteristic of the 
Late Chincha II style is seen in one fairly large vessel of dull polished 
red ware, which has basal indentations suggesting the configuration of 
that fruit (pl. 42 c). Another interesting type is the typical ‘‘stirrup- 
handled’’ jug of dull polished brown ware (pl. 42 f). The style is 
rather northern and the technique of manufacture differs somewhat 
from the usual Ancon style. On the whole, however, alien types are 


11 This volume, plate 12. 


144 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


not common in Late Ancon II ware, which is definitely homogeneous 
in its character. The present collection shows little or no influence 
by the Ineas, one pitcher (pl. 42 a) being the only possible Inca object 
on hand. Inca admixture is shown in some of the plates of Reiss and 
Stiibel, but will be dealt with in the conclusion and appendix of the 
present paper. 


LATE ANCON I 


The next type, represented by only sixteen pieces, bridges the gap 
between the late black and white ware, and the bulk of the earlier red, 
black, and white ware. I have called this type Late Ancon I, because 
it seemed unique enough to merit special designation as a transition. 
While it resembles the Late Ancon II in the considerable amount of 
white or buff coloration, it is most marked as a three-color ware, 
adding red to the usual black and white of II. There is an even 
amount of one and two color ware, but the greater part is three color.’” 
In shape it is very hike Late Ancon II, having open bowls, with definite 
bases in two eases (pl. 43 m, p) ; round-bottomed bowls; and a few 
of the smaller ‘‘pitcher’’ types with flaring mouths constricted at the 
neck and vertical handles connecting body and neck. It differs in 
that it lacks the large jugs, and especially those of the round or 
‘“swollen-mouth’’ type; and the handles are more often vertical and 
narrower than those of the later period. A new type, very similar 
to at least one vessel in the University collection from Chaneay,"® 
appears, and seems to be peculiar to the period. It suggests the 
“*stirrup-handle’’ jar somewhat; but the ‘‘stirrup-handle’’ spout is 
square and massive, and the swollen-mouth and high vertical handles 
show its connection to the Late Ancon II style (pl. 43). If it were 
common in the Late Ancon II, I feel certain it would have appeared in 
our collection of that type, but it does not. The provenience of the 
similar Chaneay vessel, when that collection is classified, will be highly 
important in respect to this whole type.™ 

As to decoration the simple geometric style of the Late Ancon II 
type is present in several cases (one example is shown, pl. 43 p), while 
the red, white, and black striping characteristic of the earlier or 
Middle Ancon II type is also found in one ease (pl. 43 0). The typical 
decoration of the period under discussion, however, which sets it apart 

12 Statistical Treatment of the Data, table I. 


13 No. 4/6581 Museum Catalogue. 


14The pottery of the Chancay grave where this piece oceurs is all of the 
Late Ancon I type. 


1925] Strong: The Uhle Pottery Collections from Ancon 145 


from either Late Ancon II or Middle Ancon II, consists of a white 
slip on which heavy red lines mark off the upper areas of the vessel 
into sections; these red lines are edged with narrow black lines, which 
in turn form squares or figures in the centers or corners of the larger 
white spaces (pl. 43 j, k, n). The style is largely geometric but is 
more elaborate than in the Late Ancon II type, and seems to indicate 
better control of lines and color by the artisan. Six vessels show 
this unique style (pl. 43 i, j, k, l, m, n), and these, in connection with 
the foregoing characteristics, seem sufficient to establish it as a distinct 
type. 

The Late Ancon I culture may have lasted a long time or a short 
time. But on account of the small number of pieces on hand, a com- 
parison of the types of significant traits in this period with the other 
period types is likely to give a false impression. I have therefore 
merely indicated the type, showing its strong affiliation with the Late 
Ancon II style characterized by two colors, and its transitional position 
in relation to the four and five-color ware of the Middle Ancon II and 
I styles, respectively. Only when more of the type is on record will it 
really be possible to find out the true position and importance of this 
ware. 


MIDDLE ANCON II 


The type I have distinguished as Middle Ancon IT is an interesting 
though rather impoverished ware wherein one color predominates, 
usually a dull unpolished red. The greatest number of colors used in 
this period is four, of which type there is a higher percentage—11 per 
cent—than in any other style. Its forerunner, Middle Ancon I, has 
only 1.7 per cent of this type, while the two Late Ancon periods have 
none. It appears probable that this four-color ware came into use in 
the Middle Ancon I period, flourished to some extent in the second 
Middle Ancon period, and died out before the time of Late Ancon J, 
with its predominant three-color ware. The four colors used are 
white, black, red, and purple (very dark red). Two and three-color 
vessels are also found. The only examples of buff or white ware are 
four vessels (two of which are shown in pl. 44 g, 7) with very little 
painted decoration, shaped somewhat like a canteen, and embossed 
with small raised knobs which are placed on bands curving across the 
faces of the vessels, with their highest points toward the curve of 
the neck. This type is not found at all in later periods, and is less 
frequent in the earlier Middle Ancon I. In one case a modeled face 


146 University of California Publications in Am. Arch. and Ethn.  [Vol. 21 


is represented on the neck, and on the neck of another piece is a erude 
geometric pattern of thin black lines. True black ware (bucchero) 
does not occur. Several of the larger vessels are heavily covered with 
soot from cooking (pl. 45 n, 0), but they were not originally smoked 
and later polished. 

The shapes are highly variable. The prevailing use of vertical 
handles is marked. Vessels of the ‘‘tumbler’’ type are found, but 
these in turn are characteristic of the later periods, and are not found 
at all in the Middle Ancon I pottery (pl. 44 0). Oval-shaped jugs 
with vertical handles, one or two in number, are characteristic (pl. 44 
b,c, 1). The spout is fairly high and straight and the handle flat or 
‘“‘ribbon’’ like, similar to handles on our own type of water pitchers, 
extending from the upper part of the body to the upper portion of 
the neck. In the earlier period (Middle Ancon I) similar pitchers are 
found, but here the handles are round, and not flat (pl. 46 a, h). A 
‘swollen’? and 
the mouth smaller, appears in the Middle Ancon II period for the first 
time (pls. 444, 45a). This type, like several others above-mentioned, 
is found in considerably smaller proportion in the earlier period (pl. 
46 f). Open bowls are usually round bottomed, the definite base is 
never found, and they vary considerably in size (pl. 44 7, e). 


new type of vessel, in which the neck is rounded or 


Pottery figurines are four in number, from different graves; three 
have rounded headdresses and ear plugs (pl. 49 e, f, g). The fourth 
is more like the later type in the position of the arms, but the head- 
dress is too broken to make the identity certain (pl. 49 d). The rough 
unpainted ware and dull brick red color of this specimen somewhat 
suggests the Middle Anecon II style of pottery; but the object was 
found above grave T14 and Dr. Uhle in his notes says: ‘‘The 
figure represents a later style (Chancay) and may have been put there 
for a superstitious purpose by people of a later time who knew of the 
presence of the old grave.’’ The rounded or crescentie headdress, in 
conjunction with the breasts, and in one case genitals and ear plugs in 
relief, all are good period characteristics. The arms of the character- 


”? 


istic three are folded on the breast. The wavy white design on the 
large red figurine (pl. 49 e) connects this type with the Middle Ancon 
II style of pottery beyond doubt. In Reiss and Stiibel, m, plate 91, 
two figurines of this type are shown (figs. 5, 12). Here, also, as men- 
tioned before, figure 3 (fig. 1, present paper) is of unusual interest in 
showing the transition in style between this and the Late Ancon II 
type of figurine. The rounded headdress, color, raised breasts, and 


1925] Strong: The Uhle Pottery Collections from Ancon 147 


incised place for hand on breast suggest the latter ; the outspread arms 
and hollow palms, the former. It seems quite possible that this type 
might belong to the Late Ancon J period. 

One model of an animal is found (pl. 45 d), a dog or llama with a 
collar around the neck. Three vessels have human faces roughly 
modeled on the spout, of which two examples are shown (pl. 45 ¢, 1) ; 
and two modeled handles may crudely represent the human figure 
(pl. 44 n, p). There are two unique vessels of small size having a 
spout at one end and a modeled animal head at the other. The body in 
each case is only suggested by the configuration of the vessel. 

Unique in the Peruvian collections at the University are three 
Middle Ancon II pottery ear plugs (pl. 45 f, j,k). The largest (pl. 
45 7) is 8 cm. in diameter at the large end, 4.25 cm. at the small end, 
and 4.75 em. in height. The eylindrical part which passed through 
the ear lobe is not tapered. The central design is a quadruple animal 
head, with a border of birds surrounded by a double ring. The other 
two (pl. 45 f, &) are identical, 5.5 em. at one end, 2.5 em. at the other, 
and 4 em. high. The eylindrical part is sharply tapered toward the 
small end. The design appears to be an extremely conventionalized 
bird or animal, with a series of alternate spokes around the outer rim. 
The color of these ear plugs is a reddish buff or yellow, of unpolished 
pottery. These pottery ear plugs are peculiar to this period at Ancon 
in so far as the Uhle collection is concerned. Reiss and Stiibel show 
five similar ear plugs.’°> In three of these the central animal appears to 
be a cat (figs. 8, 9, 10), in one there are four heads arranged like the 
spokes of a wheel (fig. 7), and one has an obscure central figure. In 
all cases there is an outer double rim to the ear plug. 

Cooking pots without handles but with one or two knobs on each 

-side of their widest circumference are found in eight graves, and are 
peculiar to this period. The base is slightly flattened, rounding out 
to a wide body cut off sharply at the equator and sloping inward and 
up to the neck. At this sharp line on each side is a pointed knob, or 
sometimes two, one above the other, but always in proximity to the 
sharp line of greatest circumference (pl. 45 m, n). An example of 
this type (pl. 45 0) in grave T 11 has another sharp line above that 
of the widest circumference, giving the neck a swollen appearance. 
On this upper line is placed the characteristic knob. One vessel 
(45661) is unique so far as the present collection is concerned. The 
body is round in outline, but the sides are flat. There are two vertical 


15 11, pl. 70, figs. 6-10. 


148 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


handles, one on each side of the body, and the decoration is formed by 
raised curvilinear lines (pl. 45 7). An example of this sort of vessel 
appears in Reiss and Stiibel.1®° Of interest with respect to 4-5661 is 
the modeled face on the neck: this has rounded ear plugs similar to 
the pottery ones last described. Another type of vessel worth noting 
is the model of a double-spout jug (pl. 45 n) with a ribbon-like con- 
nection between the two spouts. This is significant as the latest 
appearance of the type, which is found most commonly in the Middle 
Ancon I period. 

Middle Ancon IT design is of two main types, either the relief work 
described in the foregoing paragraphs, or a combination of black and 
white lines on a red background. Of this last type there are two sub- 
divisions; the most common being alternate straight and wavy 
white lines, very occasionally in the shape of birds or curved 
designs (pl. 44 0, d, n, p, 7); and the other subdivision apparently a 
descendant of the Tiahuanaco style, or, as Dr. Uhle terms it, Northern 
Epigonal. Here, instead of wavy lines, mass effect is used—black, 
white, and dark red being laid on the lighter red slip in thick geo- 
metric patterns; varicolored angles, triangles, and squares done in a 
massive way predominate. The surface is usually marked off into geo- 
metric areas of different colors and dimensions (pl. 44k, n,0,q). The 
two types blend in occasional pieces (pl. 44 j, 1, r), and both are found 
in the same graves (T 1, for example), so there seems to be no ques- 
tion as to their homogeneity in time. One specimen (pl. 44 m) is an 
interesting forerunner of the later Ancon I type, having a black rim, 
vertical red and white lines segmenting the outer bowl area, within 
which segments are black line designs suggesting hieroglyphs. The 
interpretation of these two main tendencies in design will be discussed 
later. 


MIDDLE ANCON I 


This period is interesting for two reasons. First, its pottery is 
decidedly local in nature, affiliating closely with the types which pre- 
cede and follow it. Secondly, along with this local nature, external 
cultural influences are clearly shown. This rather paradoxical con- 
dition of affairs will be discussed more fully in the conclusion, but 
merits mention here in order that the following description may be 
understood. One-color ware predominates, composing 62 per cent of all 
color combinations. Of this, 50 per cent is red ware, and 47 per cent 


16 111, pl. 98, fig. 1. 


1925] Strong: The Uhle Pottery Collections from Ancon 149 


is highly polished. Considering that this is the period numerically 
best represented, and that there are a wide variety of types in it, we 
realize how characteristic this one-color (red) polished ware is. About 
one-half of it is decorated by simple incisions. While in a few graves 
this red pottery is found alone, it is usually associated with other 
types, a fact suggesting blending of local and foreign styles and a 
point which again must be discussed later. That this basic type is, as 
far as I am able to ascertain, definitely local, gives strong grounds for 
a belief in the contemporaneity of the graves in which it is found. 

About 25 per cent of the pottery of this period is two color, red 
and black; or three color, black and white on a red slip. Only 3 per 
cent of the vessels are four color (black, white, pale red, and dark red) 
and five color (black, white, dark red, purple, and blue or gray). 
‘‘Bucchero’’ ware is represented by about 5 per cent, and white or 
light buff makes up an equal percentage. Both of these latter types 
are much more characteristic of later times. 

The shapes are quite variable. Oval jugs with round necks about 
two inches in height and without any flare appear to be most char- 
acteristic. The absence of handles is strikingly noticeable in this 
period, only 26 out of the 120 vessels having handles of any sort, and 
of these 3 are double-spout jars peculiar to this period (pl. 47 b, d, g), 
and 3 others are tubular-handled pitchers also peculiar to this time 
(pl. 46 e, h). In Middle Ancon II, on 84 vessels there are 40 handles 
and neither of these special types. The oval jugs are without handles 
(pl. 47 m, n, 0), and a good many are characterized by having a raised 
collar with incised angular decorations at the base of the neck. There 
are several jugs of similar shape with spouts constricted (that is, 
smaller at the mouth than at the base of the neck), which have pitcher 
handles (pl. 46 e, h). Of these three have the tubular handles men- 
tioned. Large open-mouthed bowls with small handles parallel to 
the plane of the vessel’s mouth are of frequent occurrence (pl. 47 
j, k 1), but there are a few with vertical handles. The former out- 
number the latter twelve to three. Parallel handles on the whole 
occur more frequently than vertical handles in this period, although 
this characteristic is not so striking as the lack of any handle seems 
to be. 

Open bowls are not very common in this period; when they do 
occur they are usually flat bottomed, although a few round bottomed 
specimens of this type are also present (pl. 47 a). The definite base 
occurs neither in this nor the succeeding period. These bowls are 


150 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


usually one-color red ware, very thick and highly polished (pl. 47 f, /). 
Occasionally they are decorated by a simple double-line incision on the 
exterior (pl. 47 a), while a smaller number have simple red and black 
decoration on the interior (pl. 47 7). A thick, high-polished type of 
pottery is used in all these and is significant in relation to the one 
complete bowl from the Early Ancon period. This specimen resembles 
the Middle Ancon specimens in color, shape, thickness, and technique. 

Two vessels from grave P 26 seem somewhat out of place here in 
respect to shape (pl. 47 c). These are characterized by a swollen or 
enlarged mouth about two inches tall, connected with the upper part 
by two vertical flat handles. The rest of the body is oval, being 
largest at the base. The decoration suggests the following period to 
some degree, while the shapes definitely resemble those (pl. 42 h, 7) in 
Late Ancon II. Evidently this shape in the later styles finds its 
prototype in this period. That these vessels are forerunners in style 
and shape to the later types, however, is evident.!7 

Two double-spouted jars connected by a broad horizontal handle 
are unique at Ancon for this,period (pl. 470, d). These, with a tall 
wide-mouthed jar of polished red partially smoked (pl. 46 /), suggest 
early southern influence, although the former type is quite commonly 
found even in the later periods farther north, around Trujillo. Two 
vertical-sided, round-bottomed vessels with walls about 114 inches 
high are interesting, and are characteristic of this time at Ancon 
(pl. 46 m). One of these is characteristically decorated with incisions, 
the other plain and reminiscent of a somewhat later Ica type.'*. Two 
small bowls of polished red in P 24 (pl. 47 a) suggest the foregoing 
type, but their sides are rounder. 

Three pottery figurines are from Middle Ancon I graves. One is 
‘‘buechero’’ black (pl. 49 7), and the other two are red (pl. 49 m, j). 
All three are crudely modeled, the eyes of the black specimen being 
raised and oval in outline. This characteristic applies also to one of 
the red figurines, which is distinctive in having a sharp projecting 


17 Reiss and Stiibel, 111, pl. 94, fig. 3, show a vessel of almost identical type in 
shape, decoration (use of large conventionalized birds), and color. The fact that 
this piece is polished red with a black design in a similar manner to the two P 26 
vessels, seems to indicate that shapes of this sort are not common in red, white, 
and black polished pottery. The Late Ancon II type of vessels never has these 
color combinations, so the early origin of this style of vessel seems certain. 

18 Reiss and Stiibel, 1m, pl. 96, figs. 4 and 6, show two pieces almost identical in 
form. While the Uhle pieces are polished, incised red, the two pieces shown by 
Reiss and Stiibel are red, black, and buff. The decoration is of the ‘‘Tiahuanaco’’ 
style, and shows the interrelation of local and foreign style so common at Ancon 
in this period. These vessels are also similar to Middle Ica I pieces—ef. pl. 31, 
fig. 6, this volume. 


1925] Strong: The Uhle Pottery Collections from Ancon 151 





Fig. 2. Cat and monster design from Middle Ancon I vessel P 26-6196. 
Incised area (indicated by stippling), with relief (white). 


NAKA 














S reo 

SS) AG 
Aye 
ag 










\\ 


NS 


TMM A 4 
aw aa OLEATE M OLEH 





eae PSR TW el) 


Fig. 3. Bird and monster design from Middle Ancon I vessel P 17-6035. 
Dark red (white), light red (hatching left to right), gray blue (hatching right 
to left), white (stippling), purple (cross-hatehing), black (black). (Pl. 46f). 










& 











ie 
is 
BS 
Bos 
bos 


a uN ss 


5 c=’ 


\\\ 


\ 
At 











possos 


1a : 
ar 
2 


WAY! 
Sy 







B 
gs 











Fig. 4. Monster design from Middle Ancon I vessel P 20-6141. Red 
(white), white (stippling), black (black), gray (hatching), purple (cross- 
hatching). (Pl. 46 c.) 


152 University of California Publications in Am, Arch. and Ethn.  [Vol. 21 


nose. All have the arms crossed on the breast, the fingers being 
represented by incisions. The legs in both red specimens are suggested 
by a depression in the middle of the basal portion. The heads are 
rounded, with no notable headdresses or ear plugs. Reiss and Stiibel 
(pl. 91, fig. 9) show a gray, apparently well-polished figurine, almost 
identical. The characteristic differences distinguishing these figurines 
from those of other periods are clearly shown in plate 49. Several 
modeled vessels appear, usually of human beings; one pot in the form 
of a bird is an exception. The decoration of this piece strongly 
suggests the influence of the Tiahuanaco style (pl. 46 0). 


Simple incising, on a red highly polished ware, is the most typical 
form of decoration in Middle Ancon I. This type of decoration is 
not found in any of the later periods but is highly characteristic of 
the Early Ancon style. The designs are simple, usually linear and 
geometric in form. Text figure 6 shows the type clearly, and with the 
addition of plate 46 p, plate 47 a, b, e; 7, l, m, n, 0, should eliminate 
the need of further description. Vessels of this style are found in 
nearly every Middle Ancon I grave. Besides these there are the more 
colorful vessels suggesting the early style of Tiahuanaco (figs. 2, 3, 4) 
both in shape and decoration. The use of red, black, and blue (or 
gray) colors, and the snout-nosed monster, conventionalized condor, 
and ‘‘three fingered hand’’ motifs are all Tiahuanaco. Vessels in 
this style are found more commonly in some graves than in others 
but are not isolated in separate graves (pl. 46 a, c, f, g, n, 0). One 
piece (pl. 46 ¢ and fig. 4) suggests the Proto-Nazca of the south in its 
mythical monster and circle motifs, as well as the color combination 
of purple and gray. One true ‘‘buechero’’ piece, elaborately modeled 
and incised (pl. 46 7), seems to suggest the influence of the Chimu style 
to the north. | 


EARLY ANCON 


The pottery designated as Early Ancon all came from outside the 
Necropolis proper, at site D. It consists in the main of potsherds and 
similar remnants dug up from the artificial deposit of an old settle- 
ment, not complete pots from graves as for other periods. 


The potsherds vary from polished black to red, and are often 
unslipped; in one case (4-6347) two colors, polished red and brown, 
are found. Well-polished black ware is most common, although this 
often tinges to a dull smooth red or brown. The decoration consists 


1925] Strong: The Uhle Pottery Collections from Ancon 153 


almost entirely of incised patterns, curvilinear and rectilinear in 
shape. Figure 7 shows the most typical designs. A comparison of 
figures 6 and 7 will show the great similarity in motif and type of 
incision between this, the Early Ancon ware, and that of the succeed- 
ing Middle Ancon I. The fact that the bulk of the ware in both 
periods is incised, while in later periods it is replaced by painting, 
is significant as to the relative age. There is one complete Early 





=. «eA TUTUNETI CI 





Fig. 5. Figurine head, body, and two spindle whorls: Early Ancon. a, D—6341, 
front and side view of head (pl. 48 g) ; b, D-6342, front view of body (pl. 48 g) ; 
c, d, D-6343, clay spindle whorls. 


Ancon bowl (pl. 48 f) of thick polished red ware, about 80 mm. at 
the base. This bowl closely resembles some of the Middle Ancon I 
vessels (pl. 47 f), but like all the Early Ancon pottery is slightly 
thicker. The black ware of Early Ancon averages 5 mm. in thickness, 


and this is about the thickness of the average Middle Ancon I incised 
ware. 


154 University of California Publications in Am. Arch. and Ethn.  [Vol. 21 


All the sherds are rather small in size, but several flat-bottomed 
vessels with rounded walls are suggested (pl. 47 b, h, 7). There are 
also fragments of heavy round bowls, with no rim whatever at the 
neck. The walls are thick, and in two out of the four cases there are 
incisions within the bowl. In one of these cases there are incisions also 
on the outside (pl. 48 a). Four large sherds of heavy flat-bottomed 
bowls are decorated by vertical incised lines (pl. 47 h). Three of 
these are black, with walls exactly 1 em. through at the base; one is 
red, somewhat thinner, 60 mm. at the base. None of the sherds show 
any indication of a definite lip, and while in three cases color is 
sparsely used, nearly all the decoration is of incised work, and the 
illustrations (pl. 48 and fig. 7) clearly show the nature of the designs. 

Under number 6342, Dr. Uhle lists “‘five heads of figures of clay’’ 
but of these only two are at hand (pl. 48 7). They are both badly 
weathered and have lost their clean-cut characteristics. One, how- 
ever, rather strongly suggests certain.archaic figures from Mexico 
more than it does any Peruvian type I am familiar with (pl. 48 g and 
fig. 5 a). The other is more worn but of the same type (pl. 48 gq). 
With these two heads (4-6341) is apparently the body of one of them 
(4-6342). It is of the same rough, unpolished, brown clay, much 
eroded, but still showing its original shape. The toes are indicated 
by incisions, and it would seem that the hands also are indicated on 
the breast. While its association with the heads is not absolutely 
assured, it seems probable, adding an unusually interesting type of 
very early figurine to the series of Ancon types already described. 
Two black pottery spindle whorls are also unique in the Ancon collee- 
tion. They are cylindrical and cubical, respectively, and decorated 
with incised curves and cireles (fig. 5 c,d). Another piece of polished 
black ware, somewhat suggests the back and dorsal fin of a fish, on 
each side of which are four parallel horizontal incisions filled with 
white, pink, and yellow pigments. The high polish of the black ware 
is characteristic of Early Ancon, but the coloring is not typical (pl. 
48 ¢). A bird figure, perhaps a whistle, in Later Ancon II, is a rather 
close analogue (pl. 43 f), being of black ware, and having vertical and 
horizontal incisions filled with similar pink, red, yellow, and white 
pigments. While the form and pigment-filled grooves of this piece 
closely resemble the Early Ancon sherd, its crude and unpolished 
blackware does not. 


1925] Strong: The Uhle Pottery Collections from Ancon 155 


Two stone implements found with this type of pottery are worthy 
of notice here. One is a four-pointed stone club-head, with a central 
hole about 4m. in diameter. The axes of the four points are, respec- 
tively, 11 em. by 10 em. It seems to be an interesting forerunner of 
the copper or bronze club-heads of similar shape, and if the fact that 
Dr. Uhle records no metal from this site be significant, and not due 
to the smallness of the collection, the piece may point out the deri- 
vation of that very widely used weapon (pl. 48 c). The other stone 





Fig. 6. Incised designs from Middle Ancon I vessels. a, P 26-6197, dark 
red; b, P 5-5939, erude unpolished red; c, P 24-6167, polished red; d, P 24-6168, 
dark red; e, P 8-5971, red; f, P 24-6166, polished red. 
implement Dr. Uhle calls a mortar. It is of the same gray stone as the 
club-head, and has a flat, round base, definitely cut walls, and rounded 
interior. The exterior is definitely shaped, and the walls 3 em. above 
the base are about 2 em. thick. 


156 University of California Publications in Am. Arch. and Ethn.  [Vol. 21 


The only other material objects found in provenience with the 
Early Ancon ware are a piece of deer antler (pl. 48 d), a fragment of 
an ordinary bone awl, and a net-like basket. Dr. Uhle shows some of 
this material in his published account.'® Several of the pieces in his 
figure 3 are not in the University collections at the present time. 





| m 


k 


Fig. 7. Incised designs from Early Ancon potsherds (pl. 48a). a, D-6345, 
red and brown, head in relief; b, D-6344, dark red; c, D-6351, black; d, D—6344, 
black; e, D-6347, black; f, g, D-6344, black; h, D-6347, dark red and brown; 
i, D-6344, dark brown; j, D-6349, brown; k, 1, D-6346, black; m, D—-6351, black. 


19 Op. cit., figs. 3, 4, pl. 1, fig. 2. 


1925] Strong: The Uhle Pottery Collections from Ancon 157 


SUMMARY 


The following summary shows in chronological order the salient 
characteristics of all five periods distinguished at Ancon. 


Early Ancon 


1. Character of ware. Highly polished. Red ware thick. Black ware thinner. 

2. Color. Mostly one color, black to red in shade. (Small amount of two color.) 

3. Decoration. Incised rectilinear and curvilinear patterns. (Small amount of 
painting. ) 

4. Shapes. Flat bottomed. No definite lip. Round sides. 

5. Handles and spouts. None indicated on sherds. 


6. Figurines. No arms or legs shown. Body coniform, tapering from shoulders 
to feet. Head with holes for eyes. Peaked headdresses with vertical 
grooves. No paint. 


Middle Ancon I 


1. Character of ware. Highly polished. Red ware very thick. 


2. Color. Mostly one color, red, 62 per cent. Two and three color, 25 per cent, 
four and five color, 3 per cent, representing foreign styles. 


3. Decoration. Geometric incisions. Painted polychrome design. Modeled work. 
4. Shapes. Flat bottom most frequent. Definite lip. Forms variable. 


5. Handles and spouts. Handles not common. Spouts usually smaller at open- 
ing than base. 


6. Figurines. Solid red or black. No design. Arms on breast. Legs made by 
groove at bottom. Crude. 


Middle Ancon II 


1. Character of ware. Rough. Designs crude. 

2. Color. One color, red, 44 per cent; two and three color, 30 per cent, and four 
color, 11 per cent. 

3. Decoration. Painting of two types, wavy white designs and square Epigonal 
designs. Also relief work. 

4. Shapes. Round bottom most frequent. Round jugs with handles common. 
Forms variable. 

5. Handles and spouts. Handles common, usually vertical. Spouts usually wider 
at opening than base. 

6. Figurines. Painted designs. Arms usually on breast. Headdress crescentic. 
Noses aquiline. 


158 University of California Publications in Am, Arch. and Ethn.  [Vol. 21 


Late Ancon I 


1. Character of ware. Fairly well made. Designs geometric, but exact. 


2. Color. One and two color, black and white, 38 per cent. Three color, black, 
white, and red, 50 per cent. 


3. Decoration. Painting, red and black linear designs on white. 


4. Shapes. Flat bottom. Definite base on bowls. Very heavy ‘‘stirrup handle’’ 
unique. 


5. Handles and spouts. Vertical handles high on neck. Spouts wider at open- 
ing than base. 


6. Figurines. (None associated with pottery of this type in the present collec- 
tion.) 


Late Ancon II 


1. Character of ware. Fairly well made. Designs geometric, but often crude. 


bo 


Color. One color, white, 37 per cent. Two color, white and black, 35 per 
cent, most striking. 

3. Decoration. Painting, black linear designs on white slip. 

4. Shapes. Round or oval bodies. Round bottoms most frequent. Definite base 
on bowls. 

Handles and spouts. Vertical handles high on neck. Spouts often ‘‘flaring’’ 
at mouth. 


oO 


6. Figurines. Painted design. Arms spread, palms open. Headdress square 
and perforated. 


In the next section of this paper I present the more detailed table 
on which the foregoing summary is based. This table 1 (p. 160) shows 
the main characteristics of all the Ancon pottery in the Uhle collection, 
and the number of times these occur in each period. The reliability 
of the differences, and the correlations between the four periods, are 
brought out. by statistical treatment, and strongly verify the relative 
sequence of the four types of pottery within the Necropolis proper. 


1925] Strong: The Uhle Pottery Collections from Ancon 159 


STATISTICAL TREATMENT OF THE DATA 


In table 1, following, is given a division of the collection of Ancon 
pottery into four periods—Middle Ancon IJ, Middle Ancon II, Late 
Ancon I, and Late Ancon I]—established on the basis of color, design, 
shape, and other features already discussed. The Early Ancon period 
is necessarily omitted from this statistical treatment due to the small 
amount and fragmentary nature of its pottery. In this table are 
distributed, under each period, according to the frequency of their 
occurrence, forty significant traits descriptive of this pottery. The 
actual number of pieces illustrating each trait is given and the per- 
centage that this number is of the total number of pieces in the period. 
For example, in the Middle Ancon I period occur three pieces of 
unslipped pottery, these pieces being 2.5 per cent of the total 120 
pieces in this period. 

In order to show, if possible, the adequacy of the division and 
distribution of traits in table 1, correlations between the number of 
pieces of pottery illustrating each trait were found for all periods 
taken in pairs (table 1). Two of these correlations are high, relative 
to the other four. The two high correlations are that between Middle 
Anecon I and Middle Ancon II (r= .612 + .067) and that between 
Late Ancon I and Late Ancon II (r= .587 + .070). These correla- 
tions show that there is a significant likeness between the relative 
frequencies of traits in the Middle Ancon I and the Middle Ancon II 
periods and between the relative frequencies of traits in the Late 
Ancon I and Late Ancon II periods. The low correlations are those 
between Middle Ancon I and Late Ancon I (r==.148 + .105), between 
Middle Ancon I and Late Ancon II (r==.291 + .098), between Middle 
Ancon II and Late Ancon I (r—.324 + .096), and between Middle 
Ancon II and Late Ancon II (r=.271 + .099). 

It may be argued that the two high correlations are spurious 
inasmuch as they might be due to close relationship in frequency of 
occurrence between a few very common traits and a few very rare 
traits. The low correlations disprove this, however, since the factor 
of close relationship between very common and very rare traits, if it 
existed, would affect all the correlations, tending to make them equal. 
Nor does the significance of the two high correlations depend on a very 
close likeness in frequency of occurrence between a few traits, the 
other traits not having any significant relationship in this respect. 


160 * University of California Publications in Am, Arch. and Ethn.  [Vol. 21 


TABLE I 
ACTUAL AND PERCENTAGE DISTRIBUTION OF ALL SIGNIFICANT TRAITS—BY PERIODS 


































































































































Middle Middle Late Late 

AnconI | AnconII | AnconI | Ancon II 
n=120 n=84 n=16 n=43 
no,| % |no.| % |no.| % | no.) % 
1. Unslipped pottery. SO tiee.5) “bal 6 1 6 2 5 
2. Pottery of one color. 74 | 62 37 | 44 3 | 19 161\ 2387 
3. Pottery of two colors....... 14 | 12 15 | 18 3 | 19 15 | 35 
4. Pottery of three colors. 16 | 13 10 | 12 8 | 50 4 9 
5. Pottery of four colors... eg dpe eet” eH he 0; 0 0 0 
6. Pottery of five colors....... ee ee Oa 0; 0 0 0 
7. Black (‘‘buechero’’) ware. 6| 5 0; 0 1 6 3 Fi 
8. Black (‘‘bucchero’’) ware, design in relief.. 2 ya Ont) <0 0} © 0 0 
9. Black (‘‘bucchero”’) ware, design incised 1.7) 01. 0 O10 0 0 
10. Plain red ware, unpolished...............00.0..0000.. 3 13] 15.4) 2 42.6 3 if 
11. Plain red ware, polished......... 47 9] 11 pa es ba 3 4 9 
12, Plain red ware, incised design..... 22 01 0 oO} oO 0 0 
13. Plain red ware, design im relief........c.c.csccssssseescsseesesessersrsserne 2.5 5 6 {vd etal 0 0 
14. Red ground color, one added color, design in relief......| 0} 0 1 1.4] 0] 0 0 0 
15. Red ground color, black and white design.... taxa, ee OR eae 3} 19 2 5 
16. Red ground color, black, white, and dark nd, denn P| eee Sol a3 14 | 17 0510 0 0 
17. White (or light buff) ground COlOM.........ccccccccsesseeseeeeeeeeeeees 6 6 5 | 6 7 | 44 21) 49 
18. White ground color, design in relief 38 |) 2565)" B16 Oo) 8 0 0 
19. White ground color, black design 0; 0 1a 116 13 | 30 
20. White ground color, black and red design 0| 0 0|] 0 6 | 37 0 0 
21. Vessels with plane of handle parallel to rim 12 | 10 sh 4: 1 6 if 16 
22. Vessels with plane of handle vertical to rim 7 6 31 | 37 7 | 44 14 32 
23. Vessels with neck swollen, mouth smaller 3: 255. a C10 4 9 
24. Vessels with mouth swollen alee 1.7 21 2B seraeae 8] 19 
25. Vessels without handle, spout constricted we opening..| 31 | 26 v| 8 0| 0 0 0 
26. Vessels without handle, raised incised collars 14 | 12 0; 0 0} 0 0 0 
27. Vessels with two spouts connected 2) Bisa 0; 0 0 0 
28. Vessels with spout forming loop 0; 0 0; 6 ! 6 4 2 
29. Plain bowl, round bottom 8) 2b aa ee 3 | 19 3 7 
30. Plain bowl, flat bottom........... 20 | 17 22 2) 12.5 0 0 
31. Plain bowl, definite base 0; 0 0; 0 2712.5 2 5 
32. Barrel-shaped vessel—no flare at mouth.... AS a Ss s | 4 0| 0 0 0 
33. Tumbler-shaped vessel, straight sides, wide mouth......| 0| 0 3| 4 Lie 6 3 7 
34. Vessel with one vertical round handle, pointed spout..| 3 | 2.5] 0} 0 0; 0 0 0 
35. Vessel with one vertical flat handle, pointed spout........ 1 8) 6) 7 6.1 0 0 
36. Vessel with flaring spout (no neck swelling).. 4) 3 3] 4 3 | 19 6| 14 
37. Clay figurine, animal form 2.5 1 a4) 8 0} 0 2 5 
38. Clay figurine, human form... 0 1 1 0} 0 4 9 
39. Use of white design..... 9 32 | 38 3 | 19 3 7 
40. Use of wavy white line for dea 22 12 | 14 O8 2 5 














TABLE II 


INTERCORRELATIONS BY PERIODS OF THE FREQUENCY OF OCCURRENCE OF 
Forty SIGNIFICANT TRAITS LISTED IN TABLE I* 


M.A. II SOLAS L.A. II 
M.A. I .612+.. 067 . 143+. 105 . 291+ .098 
M.A. II . 324+ . 096 .2¢71+.099 
LAr . 587+ .070 


*The foregoing correlation coefficients are Pearson r’s + P.E.’s. The 
variables are the actual number of examples of each significant trait found—not 
the per cent of occurrence. 


1925] 


TABLE III 


Strong: The Uhle Pottery Collections from Ancon 161 


RELIABILITIES OF DIFFERENCES BETWEEN’ PER CENTS OF OCCURRENCE OF FORTY 
SIGNIFICANT TRAITS IN MippLE ANcon I, MippLE Ancon II, 
AND LATE Ancon II 


ONIAATR WH 


26. 


27. 








Middle Ancon I-Middle Ancon II 


Middle Ancon II-Late Ancon II 

































































Chances Chances 
Diff that Diff. that 
be- differ- be- differ- 
tween Diff. ence | tween Diff. ence 
Traits % of | o Diff. \——| is not | % of | o Diff. |\——— is not 
occur- o Diff. | signifi- | occur- o Diff. | signifi- 
rence cant— | rence cant— 
1 out of: 1 out of: 
. Unslipped pottery.......ccccce S85 | 2.987 1.184 8 1 4.214 PEys 24 
. Pottery of one color. 18 6.998 2.576 200 7 9.140 . 766 4 
. Pottery of two colors... 6 5.135 1.168 8 17 8.395 2.925 50 
. Pottery of three colors... vf 4.690 213 23 3 5.623 534 3 
. Pottery of four colors 9.3 | 3.612 | 2.575 200 il 3.414 | 3.222 | 5000 
. Pottery of five colors BLaaete 1.7] 1.189] 1.441 13 0* 
. Black (“‘bucchero’’) ware.......... 5 1.989 | 2.514 160 7 3.891 | 1.799 30 
. Black (‘‘bucchero’’) ware, de- 
sign in relief. bas 17 1.180 1,441 13 0* 
. Black (‘‘bucchero’’) ware, d 
RAS TICIS OU a5 ca-sccisvissecocsscneresess A Gali SOl 1 44 13 0* 
. Plain red ware, unpolished...... 12.4 4.235 2.928 500 8.4 5.536 1.518 16 
. Plain red ware, polished............ 36 5.693 6.324 | 10000+ yy 5.296 .378 3 
. Plain red ware, incised design.| 22 3.782 | 5.817 | 10000+ 0* 
. Plain red ware, design in relief 3.5 2.957 1.184 8 6 2.591 2.316 100 
. Red ground color, one added 
color, design in relief.............. 1.4 1.201 1.166 8 1.4 1.201 1.166 8 
. Red ground color, black and 
white design Reta ocr 8.5 3.699 2.296 100 6 4.765 1.259 10 
. Red ground color, black, 
white, and dark red design..| 14 4.384 | 3.193 | 10000 17 4.099 | 4.147 | 10000+ 
. White (or light buff) ground : 
PEP RRRS are caravtoahe tigi tescesces rusthases 1 3.267 .306 23 43 8.052 5.340 | 10000+- 
White ground color, design in 
TGGLINS ©, aibl ik  Ry einer aes 3.5 2.957 1.184 8 6 2.591 2.316 100 
White ground color, black de- 
BUSTA eeerries et sev cast ce cstesdacdiioscacunrv it 1.086 . 921 6 29 7.072 4.101 | 10000+ 
. White ground color, black and 
red design............. 0* 0* 
. Vessels with plane of handle 
parallel to Tim. .:...66cc.<sciccecsececs 6 3.474 | 1.727 25 12 5.986 | 2.005 50 
. Vessels with plane of handle 
Vertical to TUms.......ccccteussivss 31 5.696 | 5.442 | 10000+ 5 9. 263 .540 3 
. Vessels with neck swollen, 
mouth smaller........0..0...000.0000... 8.5 | 3.699 | 2.298 100 2 5.296 378 3 
Vessels with mouth swollen...... .9 | 2.100 429 3 16.4 | 6.229 | 2.633 200 
. Vessels without handle, spout 
constricted at opening............| 18 4.979 | 3.615 | 5000 8 2.960 | 2.703 200 
Vessels without handle, raised 
incised Collars............c...s0:.ssssee00- 12 2.966 | 4.047 | 10000+ 0* 
Vessels with two spouts con- 
TACCL OM eee eriiaanticice ada cineciaineste 2.3 2.442 - 942 6 4 2.138 1.871 30 





difference divided by sigma difference would be indeterminate. 


* In the cases above where the difference between per cent of occurrence in two periods is zero due to 
zero frequencies in each period, the sigma of this difference would be zero, which would mean that the 


Therefore, all that can be said for such 


zero differences is that no representation of the trait in question was found in either period under con- 
sideration, the chances of its being found among larger samplings of the period being unknown. 


162 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


TABLE III—(Concluded) 
























































Middle Ancon I-Middle Ancon II | Middle Ancon II-Late Ancon II 
Chances Chances 
Diff. that Diff. that 
be- differ- be- differ- 
tween Diff. ence | tween Diff. ence 
Traits % of | o Diff. isnot | % of | o Diff. is not 
oceur- o Diff. | signifi- | oceur- o Diff. | signifi- 
rence cant— | rence cant— 
1 out of: 1 out of: 
28. Vessels with spout forming 
LOG levers re techs feasted eames 0* 2 2.135 937 6 
29. Plain bowl, round bottom........ 2.5.) 2.772 902 6 2 4.560 439 3 
30. Plain bowl, flat bottom.............. 15 3.754 3.996 | 10000+- 2 8.408 . 238 23 
31. Plain bowl, definite base......... 0* 5 3.324 | 1.504 15 
32. Barrel-shaped vessel—no flare 
At mouth. fe. ncretancssshess 1 2.645 .378 3 4 2.1388 | 1.871 30 
33. Tumbler-shaped vessel, 
straight sides, wide mouth... 4 2.138 1.871 30 3 4.440 676 4 
34. Vessel with one vertical round 
handle, pointed spout............ 2.5 1.425 |’ 1.754 25 OF 
35. Vessel with one vertical flat 
handle, pointed spout............ 6.2 2.900 | 2.138 60 7 2.784 | 2.514 160 
36. Vessel with flaring spout (no 
neck swelling)... F if 2.645 378 3 10 5.390 | 1.855 30 
37. Clay figurine, animal form...... 3.5 | 2.957} 1.184 8 1 4.214 237 23 
38. Clay figurine, human form...... 1 1.086 921 6 8 4.497 | 1.855 30 
39. Use of white design eee heed {5) 5.905 | 4.911 | 10000+) 31 6.572 | 4.717 | 10000+ 
40. Use of wavy white line for de- 
SS ET icsessr.ccecaceaeaaguan sneer 12 3.996 | 3.003 750 9 5.020 | 1.793 30 











* In the cases above where the difference between per cent of occurrence in two periods is zero due to 
zero frequencies in each period, the sigma of this difference would be zero, which would mean that the 
difference divided by sigma difference would be indeterminate. Therefore, all that can be said for such 
zero differences is that no representation of the trait in question was found in either period under con- 
sideration, the chances of its being found among larger samplings of the period being unknown. 


The standard scores of each trait for each period were computed, a 
standard score being the deviation in frequency of occurrence of a 
trait from the mean of the distribution of frequencies of occurrence, 
divided by the sigma of the distribution. That is, a standard score 
shows how many sigmas away and in which direction from the mean, 
the frequency of each trait is. From an inspection of these standard 
scores it was found in comparing Middle Ancon I with Middle Ancon 
II and Late Ancon I with Late Anecon II, that in almost every trait 
the deviations in terms of sigma were in the same direction from the 
mean; in at least half of them, the standard scores showed high 
association. 

The two relatively high correlations are therefore truly significant 
and are a verification and a justification of the division of this collee- 
tion of pottery into two main periods, Middle and Late Aneon. The 
two subperiods of Middle Ancon and the two subperiods of Late 


1925] Strong: The Uhle Pottery Collections from Ancon 163 


Ancon are much more alike in distribution of pottery traits than 
either subperiod of Middle Ancon is like either subperiod of Late 
Ancon. 

Table m1 states the reliabilities of the differences between propor- 
tional frequency of occurrence in the Middle Ancon I, Middle Ancon 
II, and Late Ancon II periods of the pottery traits listed in table 1. 
It shows the chances of getting as large or larger differences than 
these in proportional frequency of occurrence of traits if collections 
of pottery similar to the present one were made many times. The 
Late Ancon I period has been omitted from this table because the 
small number of pieces (only sixteen) is probably not representative 
of the period, and the large number of zero frequencies may not have 
been due to the fact that such traits did not exist in the pottery of the 
period, but to the fact that no pieces illustrating them were collected. 
Differences depending upon such a limited representation of the 
period were therefore thought to be unreliable. 

Taking the difference in per cent of occurrence for each trait 
between periods Middle Ancon I and Middle Ancon II, and also 
between Middle Ancon II and Late Ancon II, the sigma of the 
difference in each case was computed by the formula: 

o of difference between two proportions = Yo? + oc’? where 
o = error of sampling of one proportion and o’ = error of sampling 
of the other proportion. o and o’ were found by the formula: 


o of a proportion =, = 


(As the data were treated, there was, of course, no correlation be- 
tween the proportions whose variability these sigmas represent.) The 
difference was divided by the sigma of difference to find out how 
many sigmas away from the mean of the differences each particular 
difference was located if the true difference were zero. This expres- 
sion of difference in terms of the sigma of difference was then referred 
to table 51 in Thorndike’s ‘‘ Mental and Social Measurements,’’ which 
may be read to state the chances of occurrence in 10,000 for any 
particular difference divided by sigma of difference. From the values 
in the Thorndike table were derived in table m the chances of obtain- 
ing as large or larger differences than the obtained differences in each 
trait if many other collections of pottery such as this were made and 
if the true difference were zero. 


164 University of California Publications in Am, Arch. and Ethn. [Vol. 21 


The application of this method shows that, while the great number 
of differences are very reliable, there are eleven cases where the sigma 
of the difference is twice the difference or more, thereby showing that 
between the two periods in question the differences are relatively less 
reliable, and therefore not so significant in regard to the frequency of 
the trait in either period. The first case of this sort occurs in trait 1 
(table mr) between periods Middle Ancon II and Late Ancon II, 
where the occurrence of 6 per cent of ‘‘unslipped pottery’’ in Middle 
Ancon II and 5 per cent in Late Ancon II (table 1) is probably 
accidental, therefore not significant. Unslipped pottery apparently 
is uncommon in all periods and markedly characteristic of none. 

The next case of this sort occurs in regard to trait 4 (table m1) 
which is ‘‘pottery of three colors,’’ proving the differences between 
the percentages occurring in Middle Ancon I, Middle Ancon II, and 
Late Ancon II to be all accidental, therefore indicating that three- 
color ware may be equally common in all three periods. (It should 
be noted here that the Late Ancon I period, not considered in table m 
on account of its small representation, marks so far as the present 
collection goes, the greatest vogue of this type—table 1.) The next is 
trait 11 between Middle Ancon II and Late Ancon II which indicates 
that the difference between these two periods in regard to ‘‘polished 
red ware’’ is accidental, the type having been most in vogue in Middle 
Ancon I (table 1) and only sparingly represented in later periods. 
Another example is trait 22, showing that the difference between the 
percentage of vertical handles in Middle Ancon II and Late Ancon II 
is not significant, although their great preponderance over the number 
of occurrences in Middle Ancon I is marked (table 1—trait 22). The 
other cases of the same sort occur in regard to traits 17, 24, 32, and 
36 between Middle Ancon I and Middle Ancon II and in regard to 
traits 23, 29, 30, and 37 between Middle Ancon II and Late Ancon II. 
A similar examination of these cases shows either that a small per- 
centage of the trait occurs in both periods and then drops out, or that 
it reaches its greatest vogue in an earlier or later period and is scantily 
represented in the two periods under comparison. 

Since the greater number of differences in table mI are very 
reliable, it is safe to predict, from the present representation, the 
tendencies of each period and its relation to the other periods. <A 
consideration of the percentages of the first six traits occurring in 
each period will show exactly what the tables graphically represent. 


Trait 1, ‘‘unslipped pottery,’’ occurs in only a small percentage in 


1925] Strong: The Uhle Pottery Collections from Ancon 165 


each period (table 1), and while the somewhat smaller amount in 
Middle Ancon I in comparison with Middle Ancon II is a reliable 
index of the relative amounts in each period, the difference in amount 
between Middle Ancon II and Late Ancon II is not (table m1—trait 1). 
In trait 2 the percentages show that ‘‘one color ware’’ is very common 
in Middle Ancon I, much less so in Middle Ancon II, and slightly less 
than either in Late Ancon II (table mi—trait 2). In this ease table m1 
shows all differences to be reliable. Trait 3, ‘‘ pottery of two colors,”’ 
occurs in a small percentage in Middle Ancon I, in a slightly larger 
in Middle Ancon II, and reaches its greatest vogue in Late Ancon II. 
Table mt likewise shows these differences to be reliable. Consideration 
of trait 4, ‘‘pottery of three colors,’’ seems to show, however, that it 
is about equal in amount in Middle Ancon I and II, that it probably 
reaches its greatest vogue in Late Ancon I (table 1), and returns to its 
earlier frequency in Late Ancon II; yet table m shows that the slight 
differences between Middle Ancon I, II, and Late Ancon II are not 


? is found in a small 


reliable. Trait 5, ‘‘pottery of four colors,’ 
percentage in Middle Ancon I, increases in Middle Ancon II to its 
greatest vogue (11 per cent) and then disappears (table 1). These 
differences are very reliable. Trait 6, ‘‘pottery of five colors,’’ occurs 
in a very small percentage in Middle Ancon I and is found in no 
subsequent period (table 1). 

A similar examination of each of the forty traits represented will 
in general show the same results. The trait comes into slight use in 
one period, gradually increases to the height of its vogue, and then 
either fades out or disappears entirely. It has seemed important to 
demonstrate statistically the reliability of all the differences, in order 
to avoid stressing subjectively chosen traits. 


166 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


AGREEMENT OF POTTERY TYPES WITH SITES 
AND DEPTHS 


In all, the pottery in the University collection from Ancon came 
from nine sites; in alphabetical order these are A, B, C, D, E, H, M, 
P, and T. Of these H, M, P, and T are shown on the map of the site 
which Dr. Uhle furnished to the University, and which also appears in 
figure 2 of his published account of the excavations.”° Site D can be 
exactly located where he indicates the ‘‘Oldest Shellmound’’ and 
‘‘Exeavations,’’ south of the Necropolis. From data in his original 
notes, sites A, B, and C can be approximately placed, but site E is 
without definite location data. The map printed in this paper is the 
original one furnished the University by Dr. Uhle, with the approxi- 
mate sites A, B, and C added, as ‘well as the designation D. These 
letters I have enclosed in circles to distinguish them from the exca- 
vator’s exact locations. 

Pottery from site Z, mixed with pottery from the old graves from 
plateau P, is illustrated by Dr. Uhle in his published plate 4.7 I 
cannot positively identify any of the vessels there illustrated with 
vessels in the University collection at the present time. The pottery 
seems about equally divided in type between Middle Ancon I, II, and 
Late Ancon I, but the fact that the vessels from P graves are mixed 
with those from Z makes exact classification of the Z material impos- 
sible. No pottery from site Z is on record in the University collee- 
tion, nor is it mentioned in the excavator’s original notes on file. In 
the conclusion I shall have more to say as to its probable importance, 
for from Dr. Uhle’s published account (pp. 34-39) it would seem to 
mark the transition from the Middle Anecon II style to the Late 
Ancon I type so sparingly represented in the University collection at 
the present time. 

Another large discrepaney between Dr. Uhle’s published account 
and his original notes oceurs in the case of site H. In his printed 
account (p. 36) he refers to a series of graves at H of which his 
original notebooks make no mention. His figure 6 (p. 37) shows five 
graves, H 1, 4, 5, 6, and 9. The pottery from these graves was also 
‘‘black, white and red,’’ or of the type I have designated as Late 


20 Max Uhle, ‘‘Die Muschelhtgel von Ancon,’’ Intern. Cong. of Americanists, 
xvi (London, 1912), 22-45, 1913. 


1925] Strong: The Uhle Pottery Collections from Ancon 167 


Anecon I. Grave H 2, recorded in his original notebooks, contained 
Late Ancon II pottery. I shall also have more to say in conclusion 
in regard to the importance of these graves. 

Since it is a basic principle to work with the original data and 
material, and not with the excavator’s interpretation of them, I have 
done so throughout this paper. It is necessary, however, to show how 
well the type of pottery and the stratigraphy of these missing sites, as 
described by Dr. Uhle in his published account, bear out the results 
reached solely by a classification of the material actually on hand. 

The originals of the diagrams of excavations which Dr. Uhle uses 
in his published account are not in the possession of the University, 
hence in the following discussion I have supplemented the data in 
Dr. Uhle’s original catalogues with these diagrams wherever possible. 
Such of these diagrams as I have reproduced are somewhat simplified 
copies of Dr. Uhle’s illustrations on a larger scale, with English 
instead of German captions. For the originals of these, and for others 
it has not seemed necessary to reproduce, the reader is referred to 
Dr. Uhle’s published paper. 

In this work and in his original notes, Dr. Uhle distinguishes four 
main types of burial within the Necropolis proper, and one type out- 
side of this area. The first four are: 

a. Those in artificial superimposed strata. 

b. Those in natural soil, not further covered by human agency. 

c. Those partly in artificial, partly in natural soil, with artificial 
superimposed strata. 

d. Those in natural soil beneath artificial strata. 

Classified objectively, the pottery from the sites within the 
Necropolis also falls into four classes, as already described: Late 
Ancon II, Late Ancon I, Middle Ancon II, and Middle Ancon I. When 
the type of the graves of these four periods is determined by refer- 
ence to Dr. Uhle’s original notes and diagrams, it appears that in 
nearly every case the graves containing Late Ancon II pottery are of 
the (a) type of burial; those containing Late Ancon I pottery are of 
the (b) type of burial (with one important exception, 1e., grave P 1) ; 
graves containing Middle Ancon II pottery are of the (c) burial 
type, and those with Middle Ancon I style pottery are of the (d) type 
of deep burial. I have in the following paragraphs presented the evi- 
dence for such correlation in the briefest possible form. Beginning 
with the latest style of pottery, Late Ancon II, I have grouped under 
that heading all graves characterized by such ware, with the evidence 


168 University of California Publications in Am. Arch. and Ethn. [Vol. 21 
for their stratigraphy following. This evidence is taken directly 


either from Dr. Uhle’s original notes, in which case quotation marks 
are used, or else from his published diagrams of the excavations. 


Vi 





(“' 
Li--Z 


Fig. 8. Diagram of excavations at site T, showing Late Ancon II graves 
above and Middle Ancon II graves below. From Uhle, Die Muschelhiigel von 
Ancon, Peru. Intern. Cong. Americanists, xvi, 1912, p. 37, fig. 7. 


ASSOCIATION OF TYPES OF POTTERY AND POSITIONS OF GRAVES 


Late Ancon II pottery, from (a) graves, ‘‘in artificial super- 
imposed strata’’ 


2 Diagram of site T, figure 8, shows it to be in artificial layers. For the 
probable change in its exact horizontal position at site T, see p. 181. 


T4 ‘‘Some graves found in the higher parts of the soil within kjoekken- 
moeddings, under fragments of very large pots, or within stone cells.’’ 
Figure 9 also shows position. 


T9 Diagram of site T, figure 8, shows it to be in artificial layers. 
T 12 Diagram of site T, figure 8, shows it to be in artificial layers. 


T 16 Statement in regard to T4 applies to T16 as it follows T4, T9, and 
T 12 in order. 


H2 ‘“Grave H 2 contained four mummies and a skull, only six feet deep. 
The grave had belonged to a family which by continued interments 
disarranged the objects contained in the grave.’’ 


P101 ‘‘There was a small grave higher in the strata of refuse, above P 1.’’ 


Cl ‘<«¢There were some graves near kilometer one of the railroad from Ancon 
to Lima, near the southeastern end of the old settlement. Those which 
were opened belonged to a recent period. First grave contained two 
child mummies bedded superficially in the sand.’’ 


C2 ‘‘The second grave of which I got hold had been cut into the natural 
clay and covered with a solid roof.’’ 


El ‘“Grave El, in the depth, in the eastern side of the excavated shell 
mounds. ’’ 


1925] 


E2 


E3 


Al 


A2 


A3 


A4 


Bel 


B2 
B3 
B4 
jel 


Strong: The Uhle Pottery Collections from Ancon 169 


‘‘Typical grave of the time after the contact with the Incas. The 
surface at the time of the construction of the grave was, according to 
the stratum lines—the best and only proof for it—only 0.15m. (% ft.) 
below the present one.’’ 


‘¢Typieal grave of the Chaneay period: E3. The roof of the grave 
was 1.3 meters below the present surface of the soil, which proves that 
the piling up of the mound went on after the making of this grave.’’ 


“«Hxcavations at Ancon undertaken for the purpose of determining the 
origin of some apparently artificial mounds near the coast. A 1: Objects 
found in graves on top of the mound.’’ 


‘*Continuation of excavations on the same spot. Grave of a child.’’ 


““Grave of five mummies with roof of reed, and with two child mummies 
at the side of the principal grave.’’ 


‘“Another grave at the same spot.’’ 


Late Ancon I pottery, from (b) graves, ‘‘in natural soil not 
further covered by human agency’’ 


‘‘Exeavations at the southeastern end of the ancient settlements, in 
square graves cut into the solid ground.’’ 


“‘Another grave.’’ 
‘“Another grave.’’ 
‘*Another grave.’’ 


“‘There are only four graves of the former group [western part of 
site P] ‘‘the contents of two [sic] of which can be given here (P 1-4). 
They are of later origin than the eastern ones (P 5 and higher numbers). 
They represent a time contemporaneous to the 3rd period of Pacha- 
camac, and, in part, C of Trujillo.’’ ‘‘Grave P1, 5925, period C of 
Pachacamac.’’ In regard to grave P101, containing typical Late 
Ancon II pottery, Dr. Uhle says: ‘‘there was a small grave higher in 
the strata of refuse above P 1.’’ 





Fig. 9. Diagrams of two Middle Ancon II graves, M4 and T4. 


From Uhle, op cit., p. 38, fig. 8, and p. 37, fig. 7. 


170 


M3 
M4 
M 14 


M 15 
M 102 
Atal 


T3 


T5 


7, 


T14 


University of California Publications in Am. Arch. and Ethn.  [Vol. 21 


Middle Ancon II pottery, from (c) graves, ‘‘ partly in artificial, 
partly in natural soil, with artificial superimposed strata’’ 


‘“There are only four graves of the former ones (western part of site 
D).... They are of later origin than the eastern ones (P 5 and higher 
numbers). They represent a time contemporaneous to the 3rd period © 
of Pachacamae and, in part, G of Trujillo.’’ 

‘“The character of the graves is the same at both localities: partly old 
(about period G of Trujillo), partly more recent (first signs of the type 
of Chancay). The theory proved by interments; by the existence of 
graves below recent kjoekkenmoedding stratification; by the different 
levels of older and more recent graves, partly under kjoekkenmoedding 
earth, partly higher in it; and by the continuation of the graves under 
the hills without any change in their original level, is that there was 
originally a large grave field in the plain, which was covered, in the 
period of the vessels of Chancay type, with kjoekkenmoedding strata.’’ 
‘“Another grave.’’ No other data. 

Only 1.25 m. deep. (Fig. 9.) One layer of deposit shown. 


‘‘Grave M14, found under the eastern wall, proving the age of the 
enclosure of the ancient settlement.’’ Figure 10 shows position. 

‘“An additional grave at M.’’ No number given this grave by Dr. Uhle. 
““Grave from the plain.’’ 

‘“Execavations in the adjoining depression between the hills: T. Grave 
T 1 below the kjoekkenmoeddings; Epigone period.’’ Diagram of site 
T, figure 8, shows the grave to be partly in soil under artificial layers, 
partly in lowest part of artificial layers. 

““Small mummy of child, found deep near T15,.... 5877, poncho 
(from same grave), Epigone period.’’ Diagram of site T, figure 8, 
shows position in natural soil, with upper part of grave at a lower 
level of artificial layer. 

‘‘Grave T5.’’ Diagram of site T, figure 8, shows same position as 
graves T 1 and 3. 


- ‘Another grave, transitional to succeeding periods, character still 


similar to G of Trujillo.’’ Diagram of site T, figure 8, shows same 
position stratigraphically as graves T1, 3, and 5. 

“¢ Another grave, T10.’’ Diagram of site T, figure 8, shows same 
stratigraphic position as graves T 1, 3, 5, and 7. 

‘‘Another grave: determined as contemporaneous to period G of 
Trujillo by the type of 5707. 

“Grave T 13: 5739, 5740. Both cups were found standing at the side 
of the grave, above its roof, below the superimposed kjoekkenmoedding 
strata near the original surface of the soil.’’ 

‘‘Grave T14. The grave had double or triple length, but the same 
width as others. It contained four mummies, three of which were sit- 
ting along one long wall, while the fourth was placed at the eastern end, 
a little separate .... Beginning of period G .... As elsewhere, the 
grave antedated the piling up of kjoekkenmoedding soil, which is about 
6 feet thick above it.’’ 


1925] 


{Uak3) 


T 101 


Site P 


P5 


P6) 
Pi} 
P8 


P10 
P12 
12751) 
P14 
P15 


| Se 


Strong: The Uhle Pottery Collections from Ancon 171 


No data or stratigraphy. Evidently composed of several burials, as 
T15, T15a1, T15a2, T15b, are distinguished, ‘‘Grave T3, small 
mummy of a child, deep, near T 15.’’ 


‘In the higher ground were found 5725-5727.’’ (Higher than T 7.) 
Diagram of site T, figure 8, shows possible location of T 101 just above 
grave T7, in lower layers of artificial deposit. Exact location how- 
ever is uncertain. 


Middle Ancon I pottery from (d) graves, ‘‘in natural soil 
beneath artificial strata’’ 


““Execavations on the elevation behind and near the so-called Pueblo 
Nuevo, the Indian settlement near the modern houses of Ancon.. 
This is a small plain about 100 m. long and about 6 m. above the sea. 
Shellmounds of different height surround it. The plain is a natural 
plateau, covered with about 3 to 5 feet of refuse of pre-Spanish settle- 
ments. Large grinding stones prove that the plain was occupied to 
Spanish time. But the graves are generally much older. They con- 
stitute for their largest part the oldest cemetery found by me at Ancon, 
and had been made before the heaping of the strata of refuse. There 
occur objects of the period of Tiahuanaco, of the Epigone period, and 
of others mostly contemporaneous to them. Besides, there are objects 
which reflect still another local period, anterior to the arrival of the 
old civilization of Tiahuanaco, and undoubtedly also antedating it in 
origin. Its objects—mostly pottery—are characterized by engraved 
ornaments of more or less depth. The preservation was as a rule bad. 
The graves were all found at great depths: mostly from three to over 
four meters below the present surface of the soil. Therefore only a 
few objects were found beside those of pottery.’’ 


This is the first grave to which the foregoing statement applies. ‘‘My 
own excavations were partly made to the west and northwest of former 
excavations, and partly to the east. There are only four graves of the 
former group.... (P 1-4). They are of later origin than the eastern 


‘ones (P 5 and higher numbers).’’ 


Same circumstances as P 5. 


‘““Grave P 8, 6335. Fragment of bowl, Tiahuanaco style. Found in 
soil of grave P 8.’’ Same circumstances as P 5, 6, and 7. 


‘“Grave P10.’’ Same circumstances as P 5-8. 

Same. 

Same. 

Same. 

Same. Diagram of grave, figure 11, p. 180, shows it to be 4m. in depth, 
under layer of artificial deposit. 

‘P17; the richest grave of all opened.’’ ‘6033, influence of first 
Trujillo period; 6034, in the full style of Tiahuanaco; 6035, style of 
Tiahuanaco; 6036, bottle, painted in Epigone style.’’ 


172 University of California Publications in Am. Arch. and Ethn.  [Vol. 21 


P18 ‘*Grave P18: 6098, black bottle with face .... contemporaneous to 
period G.’’ Diagram of grave, figure 5, shows it to be 4.7 m. in depth, 
under a layer of artificial deposit. 


P19 ‘“Grave P19: 6109, painted bottle with two openings, Epigone style.’’ 
Diagram of grave, figure 5, shows it to be 3.95 m. deep, under layer of 
artificial deposit. 


P 20 ‘“Grave P 20: 6141, Tiahuanaco style.’’ 


Peco Diagram of grave, figure 5, shows it to be 4.2m. in depth, under layer 
of artificial deposit. 


P 24 Diagram, figure 5, shows grave to be 4.07 m. in depth, under layer of 
artificial deposit. 


P 25 Same. 


P 26 Diagram, figure 5, shows grave to be 3.86 m. in depth, under layer of 
artificial deposit. 


P 28 ‘*Grave P 28: 6215, influence of primordial style of Trujillo.’’ Diagram 
figure 5, shows grave to be 4 m. in depth, under layer of artificial 
deposit. 


There still remains site D, the hillslope southwest of the Necropolis. 
It is a site characterized by old kitchen débris, containing a few 
skeletons without definite burials or grave gifts. As only one pottery 
type was found at the site, further comment is unnecessary. The 
stylistic nature of Early Ancon ceramics, with supplementary evi- 
dence from other artifacts, determines the placing of the type at the 
bottom of the time scale. 

Such is the evidence for the correlation of ceramic types with the 
types of burial at Ancon. While every burial is not in exact con- 
formity in all details with its class, by far the greater number are. 
And in several cases we have a clear superimposition of pottery 
types of different cultural epochs to verify and support the purely 
objective stylistic classification. A more detailed discussion of each 
site will occupy the next section of this paper and attempt to demon- 
strate more clearly the relationships here indicated. 


1925] Strong: The Uhle Pottery Collections from Ancon 173 


EXCAVATIONS MADE BY UHLE AT ANCON 


The pottery collection under consideration came, as has been shown, 
from nine sites, A, B, C, D, E, H, M, P, and T. The placing of each 
of these on the map of Ancon has been discussed, while the correlation 
of the ceramic styles with the layers of deposit has necessarily involved 
some further discussion of the sites concerned. A more detailed treat- 
ment may, however, show the relationship between the pottery types 
and grave types more clearly, and offer, as well, some clue to their 
interpretation. It may be well to repeat here that all these sites were 
within the Necropolis proper, with the exception of site D. This site 
is outside of the old walls, to the southwest, and a unique pottery type, 
designated as Early Ancon, was found here. 


SITE A 


In regard to this site I will quote from Dr. Uhle’s original notes: 


First excavations at Anecon: undertaken for the purpose of determining the 
origin of some apparently artificial mounds near the coast. The mound selected 
for the experiment is one of a range of hills nearest the northern enclosure 
of the ancient settlement, situated between an abandoned lime oven and the 
wall. Its distance from the shore is about 380 feet, elevation 21.5 feet. A cut 
was made into the mound from west to east. A natural elevation of about 
15 feet above the plain, covered with yellow sand, served as base to the 
artificial layers. The thickness of the latter therefore amounts to only 6 feet 
at the top of the mound and on the upper part of its western slope. 


All the pottery from site A was Late Ancon II in style, and the 
burials were all clearly in artificial strata. 


SITE B 


Site B is not described in any great detail in the original notes at 
hand, but sufficient is given to clearly establish the nature of the 
graves and their approximate location. Dr. Uhle’s comments are 
brief : 

Excavations at the southeastern end of the ancient settlements, in square 
graves cut into solid ground. 

This is in the vicinity of site H as it is shown in Dr. Uhle’s pub- 
lished map 8 (pl. 40).21. Diagrams of five H graves are also shown in 


21 Op. cit. 


174 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


the same article, but the grave numbers do not agree with those at 
site B. There is a good possibility that sites H and B are synonymous, 
for their pottery type is the same, Late Ancon I, or, as it is called by 
Dr. Uhle, ‘‘black, white and red.’’ In the article Dr. Uhle makes 
no mention of site B, but he describes four graves from site B in his 
original catalogues. This discrepancy cannot be settled here. The 
agreement, however, between these graves in solid ground and the 
Late Ancon I style of pottery is obvious. 


SITE C 


The two graves at this site are not particularly distinctive of any 
deposit. 

There were some graves near kilometer one of the railroad from Ancon to 
Lima. Those which were opened belonged to a recent period. 


The second grave of which I got hold had been cut into the natural clay and 
covered with a solid roof of clay. 


The pottery type from both graves is late Ancon II, and while one 
grave (C2) at least represents an isolated burial away from artificial 
deposits, the nature of the grave gifts clearly shows its cultural 
’ affiliations. 

SITE D 


This site is the only place outside of the Necropolis proper at which 
Dr. Uhle conducted excavations. The sherds of pottery found here I 
have called Early Ancon, since stylistically they appear to me as fore- 
runners of the Middle Ancon I ware, which is the oldest type in the 
Necropolis. This Early Ancon pottery was found in old shellmounds 
similar in general character to the later ones within the walls of 
Ancon. Dr. Uhle’s description of the site is as follows: 


There are old kjoekkenmoeddings on the northern slope of the hill which 
adjoins the modern village of Ancon on its southeast. They were heretofore 
entirely unobserved, as their surface, with the exception of some fragments of 
shells strewn superficially over the ground, is entirely like that of the neigh- 
boring natural hills, and I became aware of them only after some time. Their 
extension from east to west is about 300 meters; their length on the slope from 
south to north, over 200 meters. Their upper end rises 60 meters above the 
adjoining plain and, while the refuse of kitchen and camp in the plain is hill- 
like, the surface of the deposits now being considered forms a slightly sloping 
plain, with only a few traces of scarcely perceptible unevenness. 


Excavations were commenced in the shape of ditches, a horizontal one 
about 40 meters long from east to west, and another following the slope at 
intervals for about 100 meters. The composition of the kjoekkenmoeddings was 
similar to those of the plain. Alternating strata of brown and black shades of 
ashes formed the main part of the deposit. The thickness of the refuse strata 


1925] Strong: The Uhle Pottery Collections from Ancon 175 


was 3-4 meters, but in some places it may be greater. I had therefore found 
the site of an old settlement, of village-like extent, though house constructions 
were missing. Lower layers contained skeletons, laid on their sides, in squatting 
position, but as no objects of significance were found with them, I assume that 
the bodies buried in the interior of the midden represented only the poorer part 
of the population. 


My observations on this spot would be of no special importance, were it 
not that the fragmentary objects (potsherds, clay figures, basket work, etc.) 
show a style heretofore entirely unobserved at Ancon or at other localities 
in Peru. Not one vessel is known to me, in any collection in the world, 
which visibly represents this style. This new style is also remarkable for its 
homogeneity. No other period at Ancon, from the time of the influence of 
Tiahuanaco to the time of the Incas, shows a similar homogeneity. This fact 
is quite as notable as the absence of objects of the style in question among the 
remains of other periods. 


We have here, therefore, a quite separate civilization. When may this 
period have been? Was there room for it in the development at Ancon between 
the time of Tiahuanaco and the arrival of the Incas? 


The character of this style is quite different from those subsequent to 
‘Tiahuanaco. Technically, an otherwise very uncommon blackish color prevails 
in polished vessels. The shapes of vessels (bowls, round pots, stiff-walled cups) 
are different from those generally seen in Peru. The ornamentation consists 
almost exclusively of engraving. Though engraved pottery is not rare in Peru, 
and belongs to various periods, this type seems to have something peculiar in 
its strength and cleanness of line. It is also peculiar because of the varied 
execution: lines, dots, parallel lines, crossed lines, fine dots, thick dashes some- 
times ending abruptly, sometimes smoothly; all of which form a system and are 
combined in manifold ways. Some forms are entirely strange in Peru. 


The ornamentation has more style than is common in Peruvian pottery. 
There is unusual inclination toward curved lines. Figurine heads look quite 
un-Peruvian. It would be easy to interpret them as Mexican. There are orna- 
mental similarities with the oldest style of the region of Ica [Proto-Nazca], 
which I now place earlier than the period of Tiahuanaco. Those similarities 
exist in spite of one style using engraving, the other painting. Only cooking 
pots sometimes have nicely engraved ornaments in the southern style. But the 
inclination to curved lines, a greatness of stylistic conception in the use of such 
simple motives as frets or scrolls, repeat what may often be observed in the 
southern style. There is also identity in the shape of bowls or basins [pl. 48 f]. 


I consider it therefore undeniable that the people who left these kjoekken- 
moeddings preceded the period of Tiahuanaco, and that they may have been 
more or less contemporaneous to the people of the oldest [Proto-Nazca] style 
of Ica. From Trujillo down to Ica we thus have the period of Tiahuanaco 
displaced as the oldest known in Peru, by finding, though still in local separation, 
three which antedate it: the oldest style of Trujillo, the oldest of Ancon, and 
the oldest of Ica. I consider these three styles to have been more or less con- 
temporaneous and related to one another. Of the first and last named, this is 
certain, and the relation of that of Ancon is at least probable. These three 
styles may belong to the development of a great people bearing Peruvian 
civilization in their time, as later on the Aimaras bore it, till at last the Incas 
began a new period, in the development of whch they were disturbed by the 
Spaniards. It is curious, the longer one observes the pre-Tiahuanaco period, 


176 University of California Publications in Am, Arch. and Ethn.  [Vol. 21 


the more frequent become the strange cultural or stylistic similarities to 
Central American civilization—a fact which justifies the hope that the sources 
of Peruvian civilization may yet be found not in Peru, but farther north. 


In a later letter to Mrs. Hearst from Chaneay (May 25, 1904), Dr. 
Uhle gives further details about this site which I present here, with 
slight changes of phraseology necessitated by Dr. Uhle’s use of English 
as an acquired language. 


I found [by excavation] that the shellmound had an extent of about 200 
meters in every direction, and its depth may be estimated at from 3 to 5 meters. 
It rises on the hill about 60 meters above the mounds cn the plain [ Necropolis 
and vicinity], separated from them by the Ancon-Lima railroad. The two sites 
[slope and plain] differ in position, external appearance, and the cultural 
character of their contents. No traces of the civilization found in the shell- 
mounds of the plain occur in the shellmound on the slope, although the 
composition of the two series of mounds is identical... . 

It must be regretted that a cemetery representing the period of this shell- 
mound has not yet been found. The mound contained some ordinary burials, 
but these cannot be the only ones left by a settlement so well developed in its 
arts.... The pottery in the graves of one of the oldest cemeteries near Ancon 
{in the Necropolis area] reminds one somewhat of the technique of the old 
inhabitants of the shellmound of the slope. But the engraved pottery there is 
different in color and ornament. Besides, it is found in association with pottery 
of various foreign styles (Tiahuanaco, Epigonal, and Early Trujillo), whereas 
the civilization of this shellmound is entirely homogeneous. Notwithstanding, 
it may be that some remembrance of the technique of the older people [of the 
mound on the slope] was preserved to the later times [of the oldest burials in 
’ the Necropolis]. 


The foregoing notes suffice to describe the nature of this interesting 
site. As to Dr. Uhle’s comments on the pottery style here found, I 
am not in entire agreement, but shall present my reasons for consider- 
ing the Early Ancon ware as a local forerunner of the Middle Ancon I 
ware, more thoroughly in the conclusion of this paper. 


SITE E 


The graves, three in number, found here are uniformly Late Ancon 
II in their pottery. This site cannot be put on the map as no location 
data for it are given by Dr. Uhle. Of these graves he says: 


Excavation of the eastern slope of the mound of kjoekkenmoedding, 
excavated to the base, height determined as 9.3 m. (31 feet) above the base. 
Of course all graves were of earlier [sic] date than the original and deeper 
layers. These latter proved to be partly of the age of the Chancay period of 
Ancon, partly of a more recent age in which contact with the Inca civilization 
had already taken place. 


1925] Strong: The Uhle Pottery Collections from Ancon 177 


The foregoing passage is somewhat obscure. Perhaps the word 
“‘earlier’’ should be ‘‘later,’’ and in the next sentence ‘‘latter’’ applies 
to the word ‘‘graves.’’ Be this as it may, all the graves are in the 
refuse, and are Late Ancon II in the style of their pottery. The notes 
on the three graves are as follows: 


Grave El, deep in the eastern side of the excavated shellmound. 


Grave E2, typical grave of the time after contact with the Incas. The 
surface at the time of the construction of the grave was.... according to the 
stratum lines .... only 0.15 m. (% foot) below the present one. 


E 3, typical grave of the Chancay period. The roof of the grave was 1.3 m. 
below the present surface of the soil, which proves that the piling up of the 
mound went on after the making of this grave. 


SITE H 


The one grave at site H (H 2) has only a small amount of pottery, 
but the pottery clearly shows its affinity to the Late Ancon II style. 
The probabilities are that it was in artificial strata. 

Grave H 2, containing four mummies and a skull, was only six feet 
deep. The grave had belonged to a family which by continued inter- 
ments disarranged the contained objects. 

In regard to site H, as before mentioned, we come to a discrepancy 
between Dr. Uhle’s published report and his original notebooks. In his 
published report,”* he refers to a series of graves at H, of which the 
original notes make no mention. His figure 6 shows five graves, H 1, 
H4, H5, H6, and HY. From the sketch, H 1 appears to have-two 
pieces of pottery, H 6 one, and H 9 three. According to the text the 
pottery is of the ‘‘black, white and red’’ type (‘‘period C of Pacha- 
camac’’), which I have called Late Aneon I. Dr. Uhle says: 

These graves observed at H lie in the uncovered gravel of the plain. They 
are almost exactly cubical, roofed with reeds or straw, and in part the 
smoothened inner sides are also lined with these materials. Besides this it 


seems that the bodies were placed in a muddy mass that later hardened like 
plaster .... a circumstance difficult to understand. 


I have already mentioned in connection with site B its possible 
identity with H. It is clear, in any case, that whether there were two 
cemeteries or one in this general locality, each contained Late Ancon I 
ware, in square graves, cut into the natural gravel of the plain. 


22 P. 36, and fig. 6. 


178 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


Mi4 





Fig. 10. Diagrams of three Middle Ancon II graves, M1, M7, and M 14. 
From Uhle, op. cit., p. 37, fig. 6, and p. 38, fig. 8. 


SITE M 


From Dr. Uhle’s original description in his notes and from his 
diagrams it appears that at this site we have graves in two types of 
strata: some in natural soil under the artificial layers, and some in both 
natural soil and the lower levels of the superimposed strata. The 
following are his original notes on site M: 


Excavations near the eastern end of the old settlements. This part was 
bounded on the east by a wall now ruined. A wide gravefield separated this 
wall from hillocks 5-6 m. high, and other graves were found to the west of 
these hillocks..... The character of the graves is the same at both localities, 
partly old (about period G of Trujillo), partly more recent (first signs of vessels 
of the Chaneay type). The interpretation proved by interments; by the exist- 
ence of graves below recent kjoekkenmoedding stratification; by the varying 
levels of older and more recent graves, partly under the kjoekkenmoedding 
earth and partly in it; and by the continuation of the graves under the hills 
without any change in their original level... . is, that there was originally in 
the plain a large gravefield which, in the period of the vessels of Chancay type, 
had been covered with kjoekkenmoedding deposits. The mounds are due to the 
formation of these latter and do not pertain to the original character of the 
locality, so that the present configuration of the ground is absolutely different 
from that which it presented before the period of the Chancay type of pottery. 

This is an observation to be made everywhere at Ancon, that the hill 
formation of the Necropolis of Ancon, however extensive and voluminous, is 
of recent origin. It proves to be the work of the people of a single period, 
which must have been of considerable length, and thus adds further to the 
duration of the aggregation of ancient Peruvian periods. 


The assignment of graves containing Middle Ancon II and I pottery 
to these two stratigraphic levels was shown in detail in the foregoing 
section. In summary, graves M 3, 4, 14, 15, and 102 contain Middle 
Ancon II pottery, and are partly in the artificial and partly in the 
natural soil layers; graves M7, M12, and M103, contain Middle 


1925] Strong: The Uhle Pottery Collections from Ancon 179 


Ancon I pottery, and are in natural soil under the artificial layers. 
The fact that the depth of M 12, 1.15 meters, is less than that of M 14, 
1.75 meters (see figs. 11 and 10) can only be explained by the assump- 
tion that M12 was made prior to the later but deeper burial M 14. 
The fact that the two Middle Ancon culture periods were undoubtedly 
continuous, and that the pottery types show such close relationship, 
makes the fact of their appearance in the same cemetery and at practi- 
eally the same depth perfectly possible. 


SITE P 


This site includes a large number of graves, representing all four 
periods distinguished within the Necropolis. According to Dr. Uhle’s 
original notes the nature of the site was as follows: 


Excavations on the elevation back of Pueblo Nuevo, the Indian settlement 
near modern Ancon. It is a small plain about 100 meters long and 6 above 
the sea. Shellmounds of different height surround it. The plain is formed of a 
natural plateau which was covered with refuse about 3-5 feet thick; large grinding 
stones lying around prove that the site was occupied to Spanish times. But 
the graves are generally much older. They constitute in the main the oldest 
cemetery found by me at Ancon [within the Necropolis] and had been made 
before the strata of refuse accumulated. There occur objects of the period of 
Tiahuanaco; of the Epigonal period; and of other periods mostly contempor- 
aneous to these; besides which there were objects reflecting a local period 
anterior to the arrival of the old civilization of Tiahuanaco, and evidently 
earlier than this in origin also. The distinctive character of the pottery of this 
early local period is ornamentation by fairly deep engraving. The preservation 
of the remains was as a rule bad. The graves were all found at considerable 
depths .... mostly from three to over four meters below the present surface.... 
so that only few objects besides pottery remained. 


In part the older graves at this site had been excavated previously. Part of 
my excavations were made to the west and northwest of these former ones. 
The graves found here are later than the easterly ones (P 5 and up), represent- 
ing a time contemporary to the 3rd period (C) of Pachacamac and, partly, to 
period (G) of Trujillo. 


The first four graves, P 1-4, are those in the west, and as Dr. Uhle 
says, prove to be later than graves P 5-28. Grave P 1 contains Late 
Ancon I pottery. Grave P 101, according to Dr. Uhle’s original notes, 
‘(was a small grave higher in the strata of refuse, above P 1.’ Now 
this grave P 101 contains Late Ancon II pottery, so that the Late 
Ancon I pottery, which in all other cases was found in isolated burial 
grounds without artificial strata, occurs in P 1 actually beneath Late 
Ancon II graves and in artificial strata, and the style is thereby fixed 
stratigraphically. 


180 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


Graves P 2 and 3 contain Middle Ancon II ware, and are evidently 
in the basal layers of the artificial deposit. These evidently are the 
type representing ‘‘period G of Trujillo,’’ while the P 1 grave repre- 
period C of Pachacamac’’’ as the Late Ancon graves do at 


ce 


sents 
site B. 





Fig. 11. Diagrams of six Middle Ancon I graves, P 15, 17, 18, 19, 21, 
and M12. From Uhle, op. cit., p. 37, fig. 5, and p. 38, fig. 8. 


The sketches of graves P15, 17, 18, 19, and 21 (fig. 11) show 
clearly the deep type of grave under the artificial deposit which Dr. 
Uhle speaks of as characteristic of the oldest graves, P 5 to P 28. 

At site P, then, we have the four types of pottery represented, with 
only three of the four types of burial, the Late Ancon I grave, P 1, 
being of the same type as the characteristic Late Ancon II burials. 
This not only shows the close relationship between the two Late Ancon 
periods but by the occurrence of the Late Ancon II grave, P 101, 
directly above grave P 1, the relative age of the two types is strongly 
intimated. If all the Late Ancon I graves had been isolated in the 
one cemetery, we should have had only stylistic evidence to indicate 
their temporal position in the Ancon series. 


1925] Strong: The Uhle Pottery Collections from Ancon 181 


SITE T 


Dr. Uhle makes no general statement in regard to site T, but its 
location on the map (pl. 41) and the diagram of the graves (fig. 8) 
give ample data in regard to it. Here we have a clear case of super- 
imposition of graves containing two distinct pottery styles. Graves 
T 1, 3, 5, 6, 7, 10, 11, 18, 14, 15, and 101 are partly in the original 
underlying soil, and contain Middle Ancon II pottery, as set forth 
in the second section of this paper. 

In regard to grave T 2, Dr. Uhle in his original catalogue says: 
““Grave of a child.’’ The only grave of a child shown in his diagram 
(fig. 8, T 2?) is unnumbered, midway between graves T9 and T 12, 
in the upper strata. The two artifacts shown to the right of this grave 
(fig. 8, T 2?) are similar to a small jug and modeled clay animal listed 
in his catalogue under grave T2. I have therefore indicated this 
unnumbered grave (T 2) with a question mark. The grave T2 at 
the extreme right of the diagram shows no grave gifts, and is marked: 
‘‘Mummy in broken pot.’’ While this interchange of the two grave 
designations seems justified from the evidence in the diagram and 
original notes, it is really of little significance as it does not affect in 
either case the vertical placing of T 2. 

A general explanation may be in order. The great shell heaps or 
deposits of kitchen débris, so characteristic of the Necropolis at Ancon, 
are characterized, especially in their upper layers, by the presence of 
Late Ancon II pottery. This type is called by Dr. Uhle ‘‘black and 
white’’ or ‘‘Chancay’’ ware. There are, moreover, indications that 
lower in these artificial heaps are graves containing the Late Ancon I 
style of pottery, but so far as the present collection is concerned, most 
graves containing this latter type of ware are found in isolated 
cemeteries not covered by artificial deposits. Grave P 1 alone shows 
the stratigraphic position of the Late Ancon I style. This type of 
pottery Dr. Uhle connects with ‘‘Period C at Pachacamac,’’ and ealls 
it ‘‘black, white and red.’’ At the base of the artificial mounds, partly 
in their lower layers and partly in the underlying soil, is a series of 
graves containing Middle Ancon II pottery. Below these, entirely in 
the original soil, are deep graves containing the Middle Ancon I 
type of pottery. The former of these styles Dr. Uhle designates as 
‘‘Hpigonal,’’ and the latter ‘‘Tiahuanaco’’ associated with an early 
local style. The distinction that he makes between these two is not 


182 University of California Publications in Am, Arch. and Ethn.  [Vol. 21 


always clear in his notes (see grave P 17, p. 171), but in his published 
account?® it is well established. 

Dr. Uhle found no deeper burials than these within the Necropolis, 
but he indicates in his notes that further excavations might reveal 
their presence. On the hillslope to the southwest, however, at site D, 
he found old she]l heaps similar to those within the Necropolis proper 
but containing a unique type of pottery. This ware he affiliates with 
the ‘‘Proto-Nazca’’ of the south, but I have designated, it ‘‘ Early 
Anecon.’’ All indications point to the antiquity of this ware, and it 
appears to me as a forerunner of the Middle Ancon I style of pottery 
from within the Necropolis. Such, in brief, is the summary of the 
stratigraphic and distributional relationship of ceramic types which 
Dr. Uhle discovered at Ancon. 


23 Op. cit. 


1925] Strong: The Uhle Pottery Collections from Ancon 183 


CONCLUSION 


The earliest pottery Dr. Uhle found at Ancon was the early shell 
heap ware, which I have called Early Ancon. This appears char- 
acteristically as a one-color ware, often unslipped, and decorated with 
deep incisions forming rectilinear and curvilinear patterns. Dr. Uhle 
believes these incised designs to be similar in style to the designs of the 
Proto-Nazea ware of the south. Scrolls, curves, and frets which appear 
in such designs (fig. 7) seem to him to indicate the close relationship 
of the two types. The shapes, as represented by the one complete 
bowl (pl. 48 f), and as indicated by the sherds, he also finds analogous 
to those of Proto-Nazca vessels. In figures 6 and 7, I have presented 
typical incised patterns from Middle Ancon I pottery and from Early 
Ancon sherds. While the designs on the former are largely confined 
to the necks of the one-colored polished jars, I believe that they show 
relationship to the Early Ancon incisions, as Dr. Uhle himself suggests 
(p. 176). The shapes also seem to be similar, as the one complete 
bowl (pl. 48f) finds exact analogues in the Middle Ancon I series 
(pl. 477); and in each case the ware is thick and red, whereas the 
Proto-Nazea ware is characteristically thin and polychrome. On the 
whole I am inclined to see a clearer relationship between the Early 
Ancon ware and Middle Ancon I ware than is indicated between the 
former and the southern Proto-Nazea. The Early Ancon ware is 
distinct as a type, it is true, but its nearest relationship appears to me 
to be with the later styles at Ancon. Theoretically this Early Ancon 
ware may possibly represent an early widespread Peruvian type from 
which the Proto-Nazca might have arisen. The fact that the Supe shell 
heaps excavated by Dr. Uhle yield a similar type of ware is suggestive ; 
but in the absence of any positive record of the type in the south,‘ this 
suggestion must remain hypothetical. Later in the Middle Ancon I 
period some similarities in design (pl. 46 n, fig. 4) and shape (pl. 
467), as well as the use of four or five colors, give a definite sugges- 
tion of the true Proto-Nazea. More intensive work in the old shell- 
mounds at Ancon, and further work in the southern valleys, alone can 
satisfactorily solve this problem of origins. 

The earliest ware which Dr. Uhle found in the Necropolis proper, 
in deep graves underneath the strata of artificial deposit, is the just 

24 In Chincha valley, at site D, Dr. Uhle found sherds of early incised ware 


somewhat similar to the Early Ancon type. At the same site was found one sherd 
definitely suggesting the Proto-Nazca style. This volume, p. 52, pl. 20. 


184 University of California Publications in Am, Arch. and Ethn. [Vol. 21 


mentioned Middle Ancon I ware. The graves characterized by this 
style contain two types of pottery. The first, a one-color incised ware, 
resembles, as I have pointed out, the Early Ancon style. The other 
type consists of polychrome foreign styles. The strongest of these 
is the Tiahuanaco style in its complete form, with some indications of 
its degraded or Epigonal type (pl. 47d). There are also indications 
of the finely modeled Proto-Chimu ware (pl. 46 a, j, 1) from Trujillo, 
as well as some slight indication of the colorful southern types (pl. 
46 c, n). These styles are not isolated in separate burials but are 
found intermixed with the one-color incised local type in every case. 
I do not therefore see any evidence for a definite ‘‘Tiahuanaco’’ 
period, but rather for a time at Ancon characterized by this one-color 
incised ware, when foreign influences from all along the coast left 
their impress on the Ancon culture. The mixed pottery types, all 
more or less contemporaneous in the individual graves, represent the 
absorption into the local style of these various foreign influences. 
With no definite knowledge of the length of this period we cannot 
absolutely place the styles in time, but the occurrence of traces of 
three such well-known types as the Proto-Chimu, Proto-Nazea, and 
Tiahuanaco simultaneously at Ancon seems important. 

The graves partly in the artificial layers of the Necropolis, and 
those partly in the original soil, are characterized by the Middle 
Ancon II ware. This is likewise of two types: a erude red ware with 
wavy white and black lines, and a brown or red ware decorated with 
the square, massive ‘‘Epigonal’’ or degraded Tiahuanaco designs. 
These two types are also found in the same graves. The former type 
appears to me as the local successor of the Middle Ancon I red incised 
ware, for it is found, so far as Dr. Uhle’s collections go, only in the 
valley of Chaneay and at Ancon. The second division, or Epigonal 
type, is widespread and is characteristic at Pachacamac and almost 
the entire northern coast. The modeling and relief characteristic of 
later Trujillo periods are also found in the pots from these graves. 
This period is closely interlinked with its predecessor, Middle Ancon 
I, both in stratigraphy and in style. It rather appears as a decadent 
suecessor to the former both in technique and decoration: the polished 
and incised ware deteriorated in technique but added painting with 
wavy black and white lines, while the contemporaneous polychrome 
‘‘Tiahuanaco’’ style degraded into the ‘‘Epigonal’’ type. From the 
number of graves and range of pottery types, this Middle Aneon II 
period would seem to have been of considerable duration. The oceur- 


1925] Strong: The Uhle Pottery Collections from Ancon 185 


rence of two such distinctive types of pottery in the same graves, a 
condition occurring also in the Middle Ancon I period, is hard to 
explain except as the result of a close amalgamation of at least two 
distinet cultures into the population of Ancon at this time. 

The pottery of this period is succeeded by the Late Ancon I ware, 
called by Dr. Uhle the ‘‘black, red and white’’ ware, and is but 
sparingly represented in the University collection. The exact strati- 
graphic position of the type is not strongly indicated by the data 
on hand, but the one grave (P 1) below Late Ancon II graves and 
above Middle Ancon II graves, would seem to show its relative 
position. The other graves containing Late Ancon I ware, the con- 
tents of which are represented in the University collection, were in 
isolated gravefields in gravel, uncovered by later deposits. In regard 
to the Late Ancon I period the data on the two missing sites are of 
importance. Of these Dr. Uhle says:®* ‘‘Following the culture of 
Tiahuanaco there would seem to have been on the one hand Epigone 
graves, in which the style is beginning to change to the period of 
the black, white and red ornaments, at H in the southeast of the 
Necropolis, and then the graves of the black, white, red period itself, 
at Z in the western part of the plateau P; on the other hand, a series 
of gravefields with different contents at T and M in the northeast of 
the Necropolis.’’ He goes on to show that the graves at Z were in 
gravel covered by artificial strata, but were higher and later than the 
original graves in the gravel at site P. Later, over these ‘‘black, 
white and red’’ or Late Ancon I graves were formed the shell heaps 
characterized by the black and white pottery (Late Ancon II). It 
is extremely unfortunate that the pottery and data on these two sites 
are not available,?° for from the foregoing it would appear that H 
was transitional between Middle Ancon II and Late Ancon I, while 
site Z represented the pure Late Ancon I style. Stylistically the Late 
Ancon I ware is intermediate between the earlier Middle Ancon II 
style and that of Late Ancon II, the use of red and black connecting 
it with the former, the prevalence of a white slip with the latter. It 
is too poorly represented in the collection under consideration, how- 
ever, for any more extensive idea of its cultural significance to be 
given here. 

Following the ‘‘black, red, white’’ pottery in time we have the 
Late Ancon II period. The graves of this period are characterized by 


25 Op. cit., p. 36. 


26 It has already been pointed out that sites H and B may be the same. Dr. 
Uhle in his original catalogues speaks of pottery from B graves as transitional 
between the Epigonal and the three-color ware of Pachacamac. 


186 University of California Publications in Am. Arch. and Ethn. [Vol. 21 


‘“black and white’’ pottery, and are all found in the large shell heaps 
of the plain within the Necropolis. .The ware seems to be homogeneous 
and of a style rather closely confined to the valleys of Ancon and 
Chanecay. The great depth and abundance of the deposits of which 
this ware is characteristic, indicate that this one period was of long 
duration. Foreign influences do not seem to have had much effect 
during all this time, and it is only in the upper layers that the ware 
of the Incas is found. No typical Inea pottery is represented in the 
present collection, but Dr. Uhle records several Inca graves in the 
highest levels of the shell heaps. This whole last period would seem 
to have been one of isolation, in which the people of Ancon and 
Chaneay settled down to manufacturing the typical black and white 
pottery undisturbed by contact with other cultures. From such 
evidence as we have at hand it does not appear probable that even 
the Incas effected any great change. The isolated position of Ancon, 
surrounded by mountains and deserts, made this state of affairs quite 
possible and also makes the strong foreign influences of the early 
Middle Ancon I period all the more remarkable. 

These simple and poorly ornamented pottery types, which we find 
at Ancon from the earliest to the latest periods, apparently represent 
the gradual development of the local culture. On this continuous 
record the waves of foreign culture or migrations each left a mark to 
show the time at which it reached this isolated valley midway between 
the high cultures of the north and south. The dating of the periods is 
very difficult and must be based on a comparative study of the entire 
coast. The approximate date of 100 B.c. which Dr. Uhle gives the 
Early Ancon culture (‘‘Peseadores mas antiguos de Anecén),?* seems 
very reasonable, though if this culture be regarded as a forerunner 
of the southern Proto-Nazea, which I consider quite possible, its date 
might be earlier still. 

In conclusion, then, it appears that while much intensive work 
remains to be done, the main outline of the cultural development of 
Ancon is well indicated by Dr. Uhle. <A careful examination of all the 
data on hand verifies in the main his conclusions as to the stylistic 
sequence and stratigraphic relationship of periods within the 
Necropolis and in the ancient shellmounds. The exact relationship 
between this ancient shellmound culture and the oldest period within 
the Necropolis, like the exact nature of the Late Ancon I period, 
remains to be determined. 


27 Los Principios de las Antiguas Civilizaciones Peruanas, Bull. Nat. Acad. 
History of Ecuador, tv, no. 12, p. 11, 1920. 


1925] Strong: The Uhle Pottery Collections from Ancon 187 


APPENDIX 


CLASSIFICATION OF THE CERAMICS ILLUSTRATED BY 
REISS AND STUBEL 


In conjunction with the classification of the present Uhle collection 
from Ancon, I have also attempted to classify the ceramic pieces 
illustrated by W. Reiss and A. Stiibel in their monumental though 
general work on ‘‘The Necropolis of Ancon’’ (Berlin, 1880-1887). I 
have done this for two reasons: first, to aid the reader of the present 
paper in a clearer visualization of the types of pottery Dr. Uhle 
distinguishes at Ancon by the use of these realistically colored litho- 
graphs; and secondly, to attempt to bring some order out of the chaos 
there presented when vessels of so many types and periods are 
depicted without any attempt at classification. I realize that a classi- 
fication from illustrations of pottery is a risky thing, even when the 
illustrations are as exact and as well done as those presented by Reiss 
and Stiibel. Nevertheless, such an attempt seems justified even if it 
does no more than to further illustrate the typological distinctions 
made in this paper, and it may perhaps be of assistance in a later 
classification based on a more intensive study of the stratigraphy and 
ceramics of Ancon. The pottery type nomenclature used in the 
classification is the same as that used in the rest of the present paper, 
with the addition of the nomenclature of the Inca style which is not 
at all strongly represented in the Uhle collection heretofore considered. 
Only objects of pottery are considered in this classification. 

Each plate containing pottery objects from Ancon is listed below, 
and opposite the figure number is the period to which I assign the 
piece. The designations are: Inca, Late Ancon II (L. A. II), Late 
Ancon I (L.A. I), Middle Ancon II (M.A. II), Middle Ancon I 
(M. A. I), and Early Ancon. Where the classification of the piece 
seems clear there is no qualifying mark, but where the exact corre- 
lation of the piece illustrated as of a specific style is not entirely 
certain, I have questioned it. Later intensive stratigraphic work at 
Ancon should remove the doubt in these cases by a more detailed 
classification. But with only the main periods at Ancon clearly dis- 
tinguished, I am not at this time in a position to be certain of the 
typological provenience of all the pieces illustrated. 


188 University of California Publications in Am. Arch. and Ethn. [Vol. 21 
PLATE 91 PLATE 96 
Pips ele A Td Higst el) MAS LL 
Phy ABS SNe 1 PAGS) 
3. L.A. II and M.A. IT INE Ne Fa 
transitional 4. M.A. I28 
Are lus Ate Dace?) 5. Inea 
Bo MeAS LE (ee a: Oa 2) 
Gopi As LEG) 7. M.A. II 
7,8. L.A. It and M.A. II 8,9. M.A. I 
transitional (?) AMS “Abaya LEG) 
OM A a inca 
LO AY TE or anes 12) MAE 
SHE GD, 13. Inca 
12. M.A. I 14. M.A. I 
13. (?) 15. “Me AS iG) 
14. L.A. II or Inea L637 MiaAS Tore 
17-18. M.A. I 
PLATE 92 19. M.A. I (strongly suggests 
Fig.: 1. L.A. II or Inca Early Ancon) 
2,3. Inca 
za) 
Dale Ale LE 
6. LL. A. IL or Inca PLATE 97 
To tele 
Bigs 1.) MAS ork 
8.) GA. LE or Inca 
9. MA. IL 25° MASE 
10. (9) 3.) M.A ICH) 
11. M.A. Lor II te 
12 MAL Oo. MaAvetr 
: 6. M.A. II (?) 
PLATE 94 ek S 
; 9. Inca 
Fig.: 1. L.A. I (?) 10-12. M.A. II 
re lu. Ace LE 
Bre MACE IG?) 
4-10. L.A. II 
PLATE 95 PLATE 98 
Fig.: 14. L. A. IT Bigsss 1.) PAC en 
5. (%) 2e Ae LE 
On ME PACA 34. MAG 
tio (Cul) 5. M.A. I or II 
Sree LerAS mE Gyiden OME. Agee 
Oe ui AG uOr. Lt: 8. M.A. I(?) 
10, 11, 12(?), 13¢%), 14, 15. 9) MM: A. Tone 
L. A. II LO Sees ASL 
iM dU ANS KCL ula x6) 
17-19. L.A. IT 
20.5 LAS ek CP) 
2 Ae ek 


28 In regard to these pieces it should be remembered that in the Uhle collection 
there are no Late Ancon I or Inea specimens of this type. 


1925] Strong: The Uhle Pottery Collections from Ancon 189 


PLATE 99 PLATE 100 
Fig.: 1. M.A. I Fig.: 1. M. A. II 
Baal Ait 2,3. M.A. II(?) 
3-6. M.A. II 4-8, (#) ) 
PATE S105 TA TE 
See. A. IL Wy, 12... 1s A) 10 (8) 
9. (9%) 
10. M.A. II 


11-19. Too fragmentary for 
exact classification. 


To sum up the results of this classification, it appears that out of 
the 128 pieces of pottery illustrated by Reiss and Stiibel, 5 are dupli- 
cates, 23 are not typical enough to allow classification, and 2 may be 
considered as transitional. The remainder of the pieces fall into the 
following classification :?? Pure Inea, 6; Late Ancon II, 38; Late 
Ancon I, 5; Middle Ancon II, 26; Middle Ancon I, 23; and Early 
Ancon, only suggested by one Middle Ancon I sherd. This shows 
that within the Necropolis proper at Ancon the Late Ancon II, Middle 
Ancon II, and Middle Ancon I graves are most common, while Late 
Ancon I graves are rare, as Dr. Uhle found them to be. Aside from 
the one sherd (pl. 96, fig. 19), Reiss and Stiibel show no occurrences 
of Early Ancon ware within the Necropolis, and this sherd probably 
represents the influence of Early Ancon or Middle Ancon I and not 
true Early Ancon. While the five Late Ancon I pieces suggest that 
style definitely, they are not all of the undisputed ‘‘black, white and 
red ware’’ which Dr. Uhle found in the isolated cemetery B within 
the Necropolis. From these vessels, it would appear that most of the 
excavations carried on by Reiss and Stiibel were made in and beneath 
the main shell heaps in the Necropolis, and not on the bare plain 
between the mounds where Dr. Uhle found the Late Ancon I style . 
cemeteries. 

29 Question marks have been ignored in this summary. Where a piece was 
designated as ‘‘L. A. II or Inca’’ (as pl. 91, fig. 10), I have counted it in this 


summary as the first or L. A. II on the basis that its strongest affiliations are with 
that type. 


190 University of California Publications in Am. Arch. and Ethn.  [Vol. 21 


GRAVE PROVENIENCE AND SPECIMEN NUMBERS OF VESSELS 
SHOWN IN PLATES 


Plate 42. Late Ancon IT: a, A4-5588; b, A3-5584; c, A4-5588; d, E3-5795; 
e, H 2-5824; f, E3-5795; h, E3-5792; i, E3-5793; j, E3-5792; k, T 12-5787; 
1, T 16-5781; m, T 12-5787. 


Plate 43. Late Ancon II: a, E3-5796b; b, A3-5581; c, A 1-5546; d, 
E 1-5856; e, A 4-5589; f, T 9-5579; g, T 2-5772; h, E 3-5796a. 

Late Ancon I: i, B1-5594; j, P1-5926; k, P1-5925; 1, B1-5593; m, B3- 
5598; n, B 2-5595; 0, B4-5600; p, P 1-5908. 


Plate 44. Middle Ancon II: a, T1-5646; b, T5-5728; c, T14-5662; d, 
T 14-5660; e, T7-5712; f, M 14-5609; g, M4-5630; h, T 14-5662; i, T7-5715; 
j, M 4-5632; k, M 4-5633; 1, T1-5648; m, T 14-5661; n, T 1-5649; 0, T 14-5750; 
p, T5-5729; q, T1-5650; r, P 2-5919. 


Plate 45. Middle Ancon II: a, P 2-5915; b, P 2-5917; c, T14-5672d; d, 
T 15-5776; e, T 6-5654; f, T 10-5698b; h, T 15-5756; i, T4—-5661; j, T 7-5718a; 
k, T 10-5698a; 1, T 1-5647; m, T 1-5652c; n, T 4-5666; 0, T 11-5704. 


Plate 46. Middle Ancon I: a, P 17-6033; 6, P 25-6178; c, P 20-6141; d, 
P 6-5954; e, P 6-5956; f, P 17-6035; g, P 8-6335; h, P 17-6036; i, P 17-6037; 
j, P 20-6142; k, P 7-5965; 1, P 5-5937; m, P 15-6030; n, P 14-6018; 0, P13- 
6011; p, P 5-5939; q, P 28-6216. 


Plate 47. Middle Ancon I: a, P 24-616; b, P 25-6160; c, P 26-6200; d, P19- 
6109; e, P 17-6041; f, P 24-6168; g, P 28-6215; h, P 21-6149; i, P 19-6117; 
j, P 14-6020; k, P 24-6165; 1, P 26-6209; m, P 14-6019; n, P 18-6099; 0, P24-— 
6163. 


Plate 48. Early Ancon: a, D 6354, 6354, 6345, 6349, 6349, 6344, 6344, 6344, 
6344, 6351, 6347, 6350, 6347, 6348, 6347, 6344, 6344, 6346, 6344, 6344, 6351, 6348, 
6351, 6344, 6344; b, D6356a; c, D 6355; d, D 6355; e, D 6342; f, D 6358; g, 
D 6342; h, D 6352; i, D 6352. 


Plate 49. Late Ancon II: a, T 6327; b, A 1-5547; c, T 2-5774. 


Middle Ancon II: d (above), T14a—-5689; e, T7-5716; f, T 11-5709; g, 
T 11-5707. 


Middle Ancon I: h, P 5-5942; i, P 6-5963; j, P 25-6184. 


UNIV. CALIF. PUBL. AM. ARCH. & ETHN. 


VOL. 21 


[STRONG] PLATE 41 






THE SHELLMOUNDS 
of ANCON. 





rom 
a, ny 





Scale 1:10000. 


Abbreviations: 
sh +» shellmound 


a” © graves 





> 
Sy 


ae 








Numerals» altitudes in metres 




































































a 
c+ 4 tg a Ps 
+ Sh wi 
ung, att that oat 
Mn, 2 I, - F satiny ian, 
" sta apy, 
iy" ary ities “a 
> Zsh 
Z : ue oe * 
z % > 
S. % AM sun, nw % 
28%, grains 43 ; a 
ie ing nity eeu 4 age 
4 4 3 
= nt, Fanos = oth a ie, 
a sis a 3 Zn 
Ua my 2 TN ie, i 
= a tai "natin MN a 
Sk i? 
RS 
& 
” 
~ yee 
iS 7% Ss 
Py * A Hun® uae 
— + 2 S ? ig 
==5 2 AY yi" 
= y 
=; iy ka 
Somes 
= ° x 
~ 
= i 
— x 
S 
= N 
x 


SAN f1\ 


SS 4 M)\ iw 


: / 
%, | sulin 








UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [STRONG] PLATE 42 





LATE ANCON II 





UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [STRONG] PLATE 43 





LATE ANCON II 
LATE ANCON I 





UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [STRONG] PLATE 44 





MIDDLE ANCON II 





UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [STRONG] PLATE 45 





MIDDLE ANCON II 





UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [STRONG] PLATE 46 





MIDDLE ANCON I 





- a 


UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [STRONG] PLATE 47 





MIDDLE ANCON I 





UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [STRONG] PLATE 48 










@- 86 
Q@a @ > 7 
Bawe. 
Bee. 


EARLY ANCON 














UNIV. CALIF. PUBL. AM. ARCH. & ETHN. VOL. 21 [STRONG] PLATE 49 





LATE ANOCON II 
MIDDLE ANCON II 
MIDDLE ANCON I 


ii 


3 3125 015 
eer / 


SS 





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+0 Plotting the. Inflections of ‘the: Voice, by Cornelius B. Bradley. . Soha it, ees 
lates, 1-5. ~ October, 1916 ... ‘ Re RD 
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’ Bandelier’s. Contribution to the sway of ( Ancient Mexican Social raiiea” SRE BI BAe, CEE 
tion, ‘py T. T. Waterman. Pp. 219-282. ‘February, 1917 ie Pn el a een 
Miwok- Myths, y ‘Edward Winslow: Gifford, Pp. 283-338, plate. 6. May, 55 


rhe LCE EA GPP y: +56 Ms. 



















eet es aptacntesenececresnetenes seeeenstecesanee 










19) Aah Pas aes SAC a ALE RE VN OSS 


448-466, plate 7. uly, 1 ei? oy : < ie 








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35-102, plates 1-20; “February, Ser hunt 


A chery y, Saxton T. Pope,’ See Tbs ine plates 21-37, March, 1918: 18 
erms of Relationship, by Edward Sapir. “Pp. 153-173. March, 1918.25. 
ory of Ishi, by Saxton T. Pope. Pp. 175-218, plates 88-44) 
Seid’ V9DO nance teenetenergemnecetpormnenncnnentnnmine ee 
f Northern Yana, by. Bdward Sapir. PD 215- f 










































sof the Patwin, ‘by W. 0. MeRer. Pp. 95-258. 
vs wneee: sveececee hie coaptersesr: wen donmednancnniahna yee _ 
= Culture in ‘Native California, pe ike 
4°ma} Siem ber, 1922. s 














January, 1918/27 ...... Ra ats 

giao Mc oleties in. Southem Gellverata by. Baws bi 
March, 1918 once 

genera and Archaeol gy of the Wiyot. 

ie Phe 221-436, plates 1-21,.15 xt ‘figures, Di 1918: 

by Se junias en 4972488, plates 22.23, 


“Genetic Relationship ‘of Ha 
“Pp, 489-502 










- UNIVERSITY oF F CALIFORNIA PUBLIGARTONS—(@ontiniea 


| ‘Vol. 18, rye ‘boda Law, by B. F. Barton. | Pp, 1-186, plates 1-83. ‘February, 9 
ihe &, Nabaloi Songs, by 0. R. Moss. and) A. L. Kroeber. ‘Pp.’ 187-206: May, 
a st tere ane iy = ater aie Law and Ritual, Bre ©. BR. Mose, ‘Pp. 207-542, Les t, 


Pore Gants A. 0). Rankahay Ceremonies, yO. - 
Kite dehy eee Ifugao. Economics, by RB. Fy Barton, Pp. 385-448, plate 
' Py Sis Ber Beg tae, PP. 447-458, 












“VoL. 18, 1 






_ oven, boca CST da Miner neta 
: 3 arrsis,” oi 


























FOP ON aoe & ne 
(res 6. The Cahuila: Tntinns, 
: , 7. The Autobiography of 
Y, April; 1920 . Slnebiemecnaapane 6 Bais Wisp pelea SP ERM! SAR cla - 
hs, 48. ‘Yuman Tribes of the Lower Colorade,: by Ae L sKroeber. ee 
BTL Ags 1920 a nace ie antemet ith 
Le is PES ABI Be BO PRM LS aay Oe 
he eT ORG AG V7, 1. The Soutces and “Authenticity. of the History of the Ancien bebe I 
eo wes Raa Radin, | Pp. 1-150, 17 plates. June, 1020 i atest tent 
Pica) Sth Hye gt Oe (Galifornia Culture Provinces, hy A. De Kroeber ia ‘163 -169 ] 
Pe Seog 8 Bepbember, 1920 a oovaeenat settee af 
am ERI oe aod cep 8. ‘Winter and Summer Dance Seried in 
ears ee RAPE : “Pp. 171.216, 2 figures in text. “Aus gust, 1922) sdeatenenconsrts 
Pate Nha AES Bek ass GN 4 Habitat of the Pitch Tdians, a Wailakt Division, ar 
WT ea RON ain tay Bh Pp. 217-225; 3 figures in text. February, A924. Mie tr 
“.) B Nabaloi ‘Tales, by ©. R. Moss,’ Pp: 227-353. September, 1% 
8. ‘The Stege Mounds at Richmond,’ ‘California, by. 
aaa! plates 18, 19, . pay an. texts toa? 1924 








ee ‘The. Phoebe ‘Abpea ‘Hearst ‘prdinoiaad Volume, 












ae ‘a Canons in haath December, a Sore ; nes 

; ay 
2. ‘Beploretions at gun ty Max 4, J M 

‘Nos, 1. and 2‘in’one cover. peepatids 1924 ou. Sie 

5 9g the ‘Whle Pottery Collections from “Ica, by AL. EK tee 

PARC ie AS Dae, SRO gs with Three Appendices by: Max Uhl pe 

oe 95 40, 17 figures in text. December, 1924 es 

BAD EG Carta ct eg bk De ae 4, The Uhle Pottery Collections from .Ancon, by Will ‘p ah 
et cu acae hak in 136-190, pie 41-49, 11 ‘Agiiien ts Me Septem ’ 


5 ae 





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